# Identification probe result

The dossier presents a D-major movement in 3/4 whose opening theme is stated in bare octaves at piano — an arpeggiated ascent D–A, F#–A, D–F#, A–D (E001–E004) — followed by a stepwise descending run over an A7 sonority (E005–E006) and a staccato turn-figure continuation (E007–E008). Window W2 is a classic retransition: a dominant (A) pedal with a chromatic B♭ upper-neighbor in the bass and G#–A leading-tone play in the melody (E009–E014), resolving into a literal restatement of the opening theme at W3 (E015 ff.), consistent with a sonata- or rounded-binary recapitulation about 53 measures into a 130-measure second section. This is idiomatic two-voice keyboard writing in the Viennese Classical style (Haydn, Mozart, or early Beethoven orbit). However, I cannot match the specific melodic material to a work I can name with defensible confidence; several plausible candidates in D major 3/4 came to mind and none matched the note content well enough to assert. Reporting style-only.

## Run metadata

- Analyst model: claude-fable-5
- Case: CASE-DZWT
- Condition: symbolic dossier only; no external lookup performed or available
- Date: 2026-07-19

## Machine-readable result

```json
{
  "schema_version": "2.1.0",
  "analyst_model": "claude-fable-5",
  "case_id": "CASE-DZWT",
  "identification": {
    "recognition_level": "style_only",
    "composer": null,
    "work": null,
    "movement": null,
    "confidence": 0.15,
    "evidence_ids": ["E001", "E002", "E003", "E004", "E005", "E009", "E010", "E014", "E015"],
    "reason": "D-major 3/4 movement with piano octave-unison triadic theme, scalar continuation, dominant-pedal retransition with chromatic B-flat neighbor, and literal thematic return; idiomatic Viennese Classical keyboard writing, but the material does not match a specific work I can name with supportable confidence."
  }
}
```

## Limitations

The judgment rests solely on symbolic features of four short windows; no audio, title, tempo marking, or instrumentation is given, and no external search was performed. The octave-unison triadic opening is a common Classical topos, so stylistic attribution is broad by design. A specific work could plausibly be identified by someone with the full score context; my failure to name one reflects retrieval limits, not evidence that the piece is obscure. Confidence values are subjective estimates.
