this starts out obviously in c#minor, and the exposition is from measures 1-33. Group 1 is measures 1-11, witha pac on meas. 6. (ending on a viio/III) group 2 is measures 12-33. There's a small elision in m. 17. measures 19-22 are very chromatic and transitional (and very loud), and then there's a pac in E in measure 24 (which is very soft). There are several important dynamic changes, and it grows softer by the time the repeat sign comes. Measures 31-33 are very terminative, ending on a pac with a repeat back to the beginning.
The development section is from measures 34-64. It starts out with the same sequence as M. 12-14, only up an octave. In measure 37 it goes to f# minor, then modulates to g# minor in measure 42, resting on a PAC on the fermata. There are motives from both group 1 and group 2. There's a big cadential extension in measures 49-50 There is a very developmental and tranistional section from m.51-63, and each measure increases up chromatically. It ends up modulating back to c#minor, and ends on a HC in measure 64. The exposition comes back in measure 66.
The exposition is varied, but still very much the exposition. There's a PAC in measure 72, and it sounds very developmental from m. 74-77, then comes back to the original section. IT stays in the key of c#throughout this entire section. It ends with a terminative feeling m. 95 and 96, and settles on a pac in c#