weights are located on the fourth beats, whereas in the following section on the first beats of the measures. Hence metric coherence can be stated. This result does not correspond to an observation in Frisch (1990) postulating a conflict between the notated and an »implicit« -meter: »The main theme, entering in the violins in the third bar, begins to project a metrical profile, but one that fits more clearly into than . Only in bar 7 is the duple division of the bar firmly supported in all parts: the theme, the ‘motto’, and the harmonic voices move every half bar.«²³

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The continuous motion in eighth notes in the accompanying voices might prevent the emergence of this metric peculiarity in the metric weight of all instrumental parts. Therefore we want to discuss the isolated analysis of the first violins (see figure 62). The result in figure 61 confirms Frisch’s observation. Within the measures 3-6 the weight corresponds to , whereas the prominence of the fourth beat as the characteristic of establishes a hierarchy corresponding to outer metric hierarchy in the following part.

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The isolated analysis of the second segment in (measures 36-48) in figure 63 reveals a regularity of the metric weight, which does not correspond to the outer meter. The highest layer is built upon the weights of every second quarter note. Hence metric coherence cannot be found. Furthermore the isolated analysis differs to a great extend to the corresponding part within the result of the analysis of the entire exposition.

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The score in figure 64 illustrates very distinct rhythmic structures of instrumental parts. The accompanying parts (bass, cello and viola) may serve as orientation concerning the -structure, since the lowest notes in the bass mark the first beats of the measures whereas the notes of the cello mark the strong first, fourth and