Alright kids...here goes nothing:
The piece starts out in e minor with a parallel period between measures 1-8 and 9-16. The material is an octave higher but almost the entire phrase is the same. There is a half cadence in measure 8 and a perfect authentic cadence in measure 16 (most typical of parallel periods). The dynamics are even the same, with a piano at the beginning of each prase crescendo-ing to a sforzando in the third measure of each phrase.
In measure 33 we're still in e minor and we have another 8 bar phrase. The material is almost identical (at the beginning anyway) to measures 9-16. The dynamics are the in the same order as in previous phrases and it ends with a half cadence. The next phrase starts in measure 31 (the pick-up of 30). the dynamics are the same, but there are sforzandos in measures 45, 46 as well with a crescendo after them. This change is signaling to us that we're now in a new key. At measure 43 Beethoven went to the key of a minor. On the second beat of measures 45 and 46 we're having a ii-V-i pattern. The sf on beat two creates sort of a hemiola feel. (i like it!) We were to stop analyzing in measure 51...and so if I didn't listen to anythign after that, I'd say that it was a half cadence...but since I did...I think that's a tonicization of the V chord (you could say that we went back to e minor)(or that measures 51-62 are just a huge V-i section (in a) or a i-iv (in e). It's sort of ambiguous.
There. I finished. The opera is killing me.
Lindsey a.k.a queen neopolitan
p.s. i heart k daniel