The Menuet (n3) might substitute for the Romance, or be added to make a four-movement piece, but the ecossaise (n5) is a mystery -- tucked in between the Romance and the Rondo, it is only 24 bars long, hardly weighty enough to count as a movement, but perhaps in the context of informal performance, such departures from form were common enough in Hummel's generation -- or perhaps the young woman playing it would be expected to improvise some variations to augment it.
An opening upward-reaching arpeggio -- at "a" -- is mirrored at "b" and the cadence is clear in its linear contrast, at "c" but is undercut by repetition of "a." In the consequent, that repetition is deleted and the cadence simple and direct. As often happens in dance music, the second strain contrasts sharply with the first: a strong descent from the start -- boxed -- comes down through the octave C6 to C5, and in the continuation phrase there are lines but they go stolidly up from C5 to E5, then down again.
