Liszt sonata - complete form sketch

Here is a sketch of a complete formal breakdown of the Liszt, to spur discussion of the larger form.

INTRODUCTION
m. 1 motive X - g minor
m. 8 motive a - b minor? (Leslie Howard says the Exposition starts here; double bar)
m. 14 motive b - definitely b minor
m. 18 sequences, building higher and higher
m. 25 return of a (Eb major)
m. 30 motive b - cadential 6-4 in b minor
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EXPOSITION
m. 32 - Main theme (combining motives a and b)
m. 36 - repeat, iv
m. 40 fragmentation
m. 45 sequence, starting in Eb minor
m. 47 (F major)
m. 49 (Ab major)
m. 51 further fragmented
m. 54 seq is now just one beat
m. 55 motive a, Bb major, in canon
m. 67 repeat, now in Eb major
m. 71 the octave thing (ends w/ dim. 7)
m. 82 X - now on A (dominant of D major) - standing on the dom.
m. 93 scale motive in diminution
m.  105 motive c, D major, Grandioso
m. 120 motive a - recapitulatory, but now soft, transitional
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Development? Second Group?
m. 125 motive a, now radically transformed into a lyrical theme - F major, period
m. 141 motive b, transition
m. 153 motive b, now radically transformed into another lyrical theme - D major, sentence
m. 171 motive b, variation
m. 179 motive a, with scale motive in R.H. - 4-bar sequence, rising 3x
[is this a sequence, or a repeat of a larger block?]
m. 191 motive b, 2-bar sequence
m. 197 motive a, very slow - F# major - RH trill; repeats in Eb major
Closing section?
m. 205 Triumphant motive a - C major (rising scale in LH)
m. 209 Rising scale - augmentation of preceding LH triplets
m. 213 Sequence - B major [again, is this a sequence or a repeat of a larger block?]
m. 221 new sequence - motive A, Bb minor, 3x - no longer triumphant; developmental
3rd x (m 225) is B dim7 - fragmentation
m. 239 motive a - D major, vivamente; (scherzando, light, upper register)
m. 247 - repeat; harmonically different
m. 255 - motive b, b minor (!); sequence with fragmentation
m. 263 - repeat
m. 270 - ultra fragmentation
m. 277 - motive X, followed by Scale
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RECITATIVO
m. 297 - motive c, C# minor
m. 301 - recitativo V/C# minor
m. 302 - F minor
m. 303 - recitativo
m. 307 - new material
m. 309 - ascending dim 7 chords (octatonic scale)
m. 310 - motive b and ascending dim 7 chords
m. 315 - motive a fragmented
m. 319 - motive a (augmented) w/ motive b underneath
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ANDANTE SOSTENUTO
m. 334 - F# major, Chorale
m. 349 - motive b (sentence)
m. 363 - motive c (F# major)
m. 376 - motive c (g minor)
m. 385 & 389 - Motive a (common tone)
m. 394-396 - Ger aug. 6th
m. 397 - F# major (m. 334)
m. 441-433 - cadential
m. 433 - motive b (F# major)
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THIRD MOVEMENT?? or recap?
m. 454 - recap, motive X + scale
m. 460 - motive a, fugue
m. 509 - dotted figure (motive A variation) LH inverted motive a
m. 523 - amplified m. 25
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RECAPITULATION
m. 533 - Recapitulation proper
m. 537 ( = m. 36, iv)
m. 541 ( = m. 40, fragmentation)
m. 546 ( = m. 45, Eb minor)
m. 555 X - in chords, not single octaves, with figuration (8th notes) from motive c
- sequence, 3x - Eb maj, E min, Fr. aug. 6th
m. 569 motive a, on the dominant, followed by Scale; sequence, 3x - climbing higher and higher
m. 582 - standing on the dominant, motive a, diminution; sequence -  climbing higher and higher
m. 590 - V9 - return of the octave thing
m. 595 - motive b - with silence! 3x
m. 600 - motive c - now in tonic, B major
m. 615 - transition - cresc. on whole note (!)
m. 616 - transformation (augmentation) of motive b, still in B major ( = m. 153)
m. 634 - variation ( = m. 171) - now the figuration is in 16ths instead of triplets
m. 642 - motive a, with scale motive in R.H. ( = m. 179)
m. 650 - motive b "stretta quasi Presto" ( = m. 255)
m. 665 - ultra fragmentation
m. 682 - motive a, diminution - apotheosis of B major
m. 690 - repeat, now with melody in LH
m. 711 - return of slow movement, now in B major (is this the start of the Coda?)
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CODA
m. 729 ( = m. 319) - motive b in bass
m. 737 motive a
m. 748 - motive X, with scale
(760 bars total)