Yesterday's post dealt with the expansion of D790n6 into the scherzo of the "Death and the Maiden" Quartet. For the trio, I'll do the reverse: pull out of the existing piece a plausible dance source. Actually, it's quite easy to do because the trio is set up as strain + varied repetition, and the contrasting middle is cleanly segregated out.
The 16-bar strain is by no means common in the waltzes, and most of those are periods (which, it must be said, are just as easily understood as written-out repetition with a varied cadence). Of 16-bar sentences, there are only seven, and all but one is early. The list is D128n10; D145ns 1, 3 12; D146ns 5, 6; and D969n5; they appear in a gallery below, with the articulation at eight bars marked in red. (D145n3 is an exception: the red line marks the "proper" end of the 16 strain, before the second 8 are repeated.)
