Two other passages in this movement merit special consideration: the bridge that occurs at bars 39-40 and the final cadence at bars 52-4. Although one would naturally expect a broadening of the metre for the second, the first only heralds a transition to d minor. However, it should also be treated with the same distinction one would give a final cadence; allow a ritardando, but then remain at that tempo until bar 40, when the original speed can re-emerge for the return of the opening motif. A similar treatment is necessary for the final cadence:

Example 10: Trio Sonata in G, second movement, bars 38-41; 52-end.

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PIANIST PAUL JANES INTERPRETS MOZART SONATA IN A MAJOR, K331