(In this connection, a study of non-synchronous returns, such as the breathtaking one in the first movement of Mozart's G minor symphony, K550, in which the root-position tonic triad does not arrive till the second bar of the theme, and the one in the first movement of Brahms's serenade in A, op. 16 - admittedly no longer a strictly Classical work - where the tonic key is established before the opening theme is restated, might obliquely provide more information.) Nevertheless I shall risk sketching out some circumstances that might influence a composer to prefer the major mediant key to the dominant.
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