A reading from the book of Hepokoski and Darcy

I'd like to read to you a passage from one of my music theory texts*.

WAIT! COME BACK!!

It's good, you'll see:

Similarly problematic MC deformations also occur from time to time in Beethoven. 

[I'm not going to bother explaining what an MC deformation is.  Sorry.]

In the first movement of the String Trio in C Minor, op. 9 no. 3, the triple hammer blows of the presumed I:HC MC seem so vigorous that in the third hammer blow (m. 20) the upper voices are chromatically knocked out of their usual places.

[Isn't that great writing?  There's more!]

Or one might recall the witty finale of the Symphony No. 8 in F, op. 93.  Here TR (beginning in m. 29) gets stuck--like an eccentrically ramshackle, mechanical contraption with out-of-control gears, levers, pulleys, and puffing pipes--and cannot accomplish the articulation of the MC.  The requisite sonata-gears shift nonetheless, and the contrasting S breaks in unmistakably in m. 48, although at first in A-flat major (bIII), the "wrong key."  One more swelling gear-shift, mm. 56-59, smooths out the S-process into the correct key, C major. 

If I can make my analysis paper even half that interesting to read, I'll consider my semester in Tonal Analysis well-spent.

* Elements of Sonata Theory.  James Hepokoski and Warren Darcy.  Oxford University Press.  2006.  Pages 49-50.