The "Recapitulation" begins at the double bar at Measure 25. This material is mostly familiar so you should have no trouble analyzing it. But there are a few subtle differences and variations, and some additional material, and some new things to learn!
In Measure 29, it doesn't look too hard - in fact, if you glanced at it you might have said it's i-V7.
On closer inspection though, you may have realized that that V7 chord has no E - and the Bass Note is an A!!!!
So what chord is this?
Dude, that's no kind of 7th chord I can figure. It's got 4 different notes like every good 7th chord should have.
Well, when this happens, you need to start thinking, "hey, is this a triad with a NCT?"
One thing you could do is play various sets of 3 notes and see if you can make a chord.
If you've done this enough or you made that assumption I at first pointed out, you'd notice the upper 3 notes make a chord - G#-B-D, but the bass note doesn't fit.
Non Chord Tones can appear in the Melody and inner voices, and Bass as well!
This A note is called a "Pedal Tone". The name comes from Organ players playing a pedal - which is a low note, and holding it while they moved chords on top. We consider it a NCT.
However, we generally only analyze it as a NCT in chords where it's not a chord tone. Wait, what?
OK, The chords here are Am - ?/A - Dm/A - Am
They're all over an A Pedal Tone. But since A is part of an Am chord and a Dm chord, we don't mark it or call it a NCT for those chords (though it may still be called a Pedal Tone, which means our Development Section had a Dominant Pedal Tone (the low E) throughout, even though it was always a chord tone).
So only this one chord which looks like G#-B-D doesn't have an A in it, so we call the Pedal A the NCT (parenthesize and label) and give the Roman Numeral to the upper chord.
Some of you may have said "E7".
We've been talking about chords with missing notes. But remember I said that a 7th chord usually has the Root, and only in real specific contexts does it omit the root. We could say that the Tonic Pedal A is replacing the root on both an E7 chord and Dm chord, it just happens to be a member of the D chord. If that's the case though, why didn't von Call put an E in the upper part. It was certainly reachable.
Maybe it's because he was a "lesser" composer and didn't write as competently as he could...But maybe it was an intentional choice.
At any rate, the most accurate info we have is that this could be called G#o over a Pedal Tone A (oh, we usually write "Ped. because we already use PT for Passing Tone). Calling it E7 over the Pedal Tone deserves a little more explanation, but it's not horribly far-fetched.
Now, Measure 31.
This is a tough one. Like the Pedal Tone bit, and omitted note chords that happen frequently in guitar music, this is something we also encounter quite a bit.
This is actually 2-part counterpoint, and it's a common layout - two parts moving in opposite directions, with an octave in the middle:
If you're familiar with the beginning of the Bach Bouree in Em from the Lute Suite, it starts similarly:
In 2-Part counterpoint, there is harmony in that two notes sound simultaneously, but there are not always identifiable chords. However, pieces written in CPP style in 2 -Part counterpoint are often not 2 parts imply harmony, but two parts *extracted* from a known or assumed harmony.
So we can take this Bach move and understand that the two E-G dyads "mean" a i chord. The F# is merely a Passing Tone between them (and as a single note doesn't really imply any chord in this context). There are instances where you'll find this pattern fully-fleshed out and be something like i-V6/4-i6 or vice versa, but we don't usually take it that far.
In this case, we have the same idea, with the notes staggered in time, B-D dyad with C passing in the middle.
But does it imply a chord here?
G-B-D, G#-B-D, or B-D-F? Is it bVII, viio, or iio?
Or is it a chord at all?
IMHO, even though you could make a case for it being viio or iio (the most likely in terms of functional harmony), there just simply isn't enough information or CONTEXT to identify these dyads as a specific chord.
In that case, we just leave it blank (and the ponder its existence on other levels
The rest of the piece should present no analytical difficulties you haven't already encountered, so I'm going to leave you to it. Measure 32 beat 1 has a chord that could have two interpretations, again with the chord tone or not situation. See if you can find it and figure out what either would be.
One last word about the form though:
Sonata Form is what we call a "two reprise" form, which means there are 2 primary sections, each repeated.
But, wait, you said Sonata Form has 3 sections, Expo, Dev, and Recap.
True, but when composers put repeats in they do it like so:
|: Dev || Recap
So the Dev/Recap is treated as a "unit". The Delcamp version does not include the repeats, but an earlier version I looked at did. They don't change the analysis but what it does tell us is that von Call was at least thinking in "Sonata Layout" when he composed this, and we are further justified in marking the Expo, Dev, and Recap where we did, because the original repeat bars confirm that thought process, even if this is not a full blown sonata form (now I think "juvenile" or "incipient" may have been better words than "primitive").
On a compositional note, I like how he took that idea in m. 8, that ended up being developmental, and used a similar idea for the final section, which is just the sort of pounding away at the V7-i cadence at the end - the "final flourish" so to speak you very often find at the end of pieces like this. This adds a bit of unity to the piece and kind of "rounds it out" nicely.
One quick note: Delcamp also put in a G natural in the last run of notes descending to the final measure. In the version I looked at it's G#. It doesn't change the analysis but given this, and the repeat bars, the issue of the Eb versus D# in a Bach analysis elsewhere on the site, one should understand that to do a very serious analysis one should look at multiple editions, especially original manuscripts and composer-approved editions, because modern editors often change things (as others have done in the past) for various reasons - space, readability, playability, and so on.
End of Part 2.