This begins in a presto 6/8 in the key of e minor. The initial theme of group one makes me think of Beethoven's Sonata in fm.
Group one is a progressive, parallel, symmetric period. The first eight bars are in e minor and end on a half cadence, while the second modulate to G major and end on a PAC. Then it is followed by twelve measures of transition leading to a HC of G, what is peculiar about the transition is that it could be considered more thematic material belonging to Group one, but since it seems to lead to the HC at the end, I see it as transitional. Lots of sixteenth notes flying around.
Group 2 is in GM and again begins on piano as did group 1. Group 2 would also be a parallel, symmetric period, though it ends twice with an IAC, and the second IAC in my opinion is even weaker than the first given the chromatic notes that lead up to it and I64 and how the mi's move down to re's. As it is, it's just a repeated phrase. Then we have four measures of terminative section at forte, clearly signalling the end of the exposition. We end on a PAC in GM, having spent most of this minor sonata thus far in the Major.
The Development begins with the first theme of group one, except in EM instead of em, though you have these funny d naturals. It's just the initial theme in the first four bars of each phrase of Group one that's getting developped. After five measures we get a PAC in EM, then dive into the last bit of thematic material from the end of Group one, and Haydn uses this motive in a number of repetitive sequential passages to really keep things moving. Then the transition between group one and two reappears, and we have a textural inversion of group one starting with a b minor triad up the right hand. This goes on for 8m ending on an IAC in BM.
Here the recap begins. This time we use only the first phrase of Group one which is modified, ending on a PAC in em after five measures, then going straight into the transition which keeps us in e and takes us to a HC in e after 11m. Group two comes in and cadences after 6 m's in an IAC. It then goes into the second phrase of 9 m's cadencing on a PAC which elides straight into the cadencial coda which brings back the transitional material from between group one and two one last time, and then concludes with three bars of the first theme of group one and then a nice PAC resolution at p.