in the middle of m. 147; this is the moment where the music of the recapitulation stops corresponding to the exposition (Ex. 15.2, m. 62)
the deceptive cadence at m. 151
We could see the “beginning” of a complete coda theme as early as the upbeat flourishes to m. 144. The resulting theme would be sentential: a false closing section (mm. 144–47) becoming presentation; continuation leading to a deceptive cadence at m. 151, with repeat of the continuation.
The last part of the closing section of the coda fashions a new forte dynamic, which ends the entire more emphatically than the piano dynamic that ended the exposition (see Ex. 15.2, mm. 162–65).