Sonata in G – Third Movement Trio

The aural poke in the era is gone; no more trill on the high D in measure 29. And the trill in the next bar has been replaced by an upper mordant, echoing the end of the second subject, recapitulated, in the opening movement (lower mordent, upper mordent, trill). The trio is turning out to have the triste character with which the minute started. Instead of being in the dominant (A major), it is in the parallel minor (D minor). So far it touches briefly on A major, but seems more interested in A minor. The contrapuntal character of the second half of the minute is also present in the second half of the trio. You may also notice the motive at the beginning of the trio (A-F-E-D) is first tightened up (A-G-F-E), then progressively turned upward in bars 40 – 42 and briefly leaves the ground in 43 (I think the aviation term is ground effect).