a group of descending octave leaps. A second attempt is now
made, this time in A minor, only to be thwarted by a still more
capricious octave descent. This time, however, after a dramatic
pause, we are rewarded with a clear-cut, periodic melody begin-
ning in measure 66, against which the rhythm of the first theme
keeps up a gentle undercurrent. Some interesting modulations
develop into a series of descending octaves which, accompanied
bysfchords, lead to the closing portion. This brilliant passage
accentuates the dominant key of the second theme. After a short
tranquillo phrase and some free imitations of the main theme
we repeat the Exposition, or go on to the Development ushered
in by a bold change to the mediant key of B-flat major. After
several appearances of the main theme in the bass, Beethoven
takes a leaf out of D. Scarlatti’s book and revels in some crossing
of the hands and some wide leaps. The Recapitulation corre-
sponds exactly with the first part until we reach the Coda in
measure 298, which affords a striking example of Beethoven’s
power of climax. After a long period of suspense an imitative
treatment of the first theme, with kettle-drum effect in the bass,
leads to a stringendo ascending passage which closes with two
crashing dissonances and two peculiarly grouped chords,e.g.
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They have a hard, cutting brilliance all their own and give just
the touch of color needed to finish this dazzling movement.[145]
[Footnote 145: By Beethoven everything is carefully planned.
Note in performance the contrast of mood suggested by these
final chords and the sombre register of the opening chords of the
Slow Movement.]
In the Slow Movement, Largo e Mesto, there is a depth of emo-
tion quite unparalleled in the early history of music.[146] Cer-
tainly no composer since Bach had uttered such a message. As
soon as the movement begins we are convinced that it represents
the outpouring of a soul capable of deep meditations upon life
and its mysteries, and with the eloquence at its command to
impress these thoughts upon the hearer. The number of themes
and their key relationship are those of Sonata-form, but instead
of the usual development we have a new contrasting theme of
great pathos in the major mode. Observe the poignancy of the
dissonances,e.g.,
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