nale of the Twelfth Sonata has been included in the Supplement
in order to make this important form familiar to the student.
To return now to the Finale of the sonata we are studying. Its
first two portions correspond exactly to the usual practice in
the Rondo-Sonata form just explained;i.e., we find in the Ex-
position a first theme, a modulatory transition, a second theme
(beginning in measure 17) and a definite repetition of the first
theme, in measures 25-32. Then, after two measures of bold
modulation, begins the middle, episodical passage which, clos-
ing with a whimsical cadenza-like passage, leads back to the
beginning of the third part. After a complete, slightly varied
appearance of the first theme, Beethoven does not repeat the
second theme, as we should expect, but allows his fancy to in-
dulge in a series of brilliant passages, exciting modulations and
dynamic contrasts. All this freedom is held together by insis-
tence on the fundamental rhythmic motive (measures 72-83). A
final embellished statement of the first theme ushers in the fiery
Coda, in measure 92, which ends with a long running passage;
beneath, we hear reminiscences of the main theme. It is often
stated that Beethoven’s Sonatas are lacking in pianistic effect,
and it is true that his pianoforte works do not bring out the
possibilities of color and sonority as we find them, for example,
in Chopin and Debussy—the orchestra and the string-quartet
being indeed his favorite media of expression. Yet during his
entire early career Beethoven was famous as a performer and
improviser on the pianoforte and some, at any rate, of his deep-
est thoughts have been confided to that instrument. That he
was not at all insensible to the beauty of pianistic effect for
its own sake is shown by the syncopated, shadowy chords in
measures 101-105, the whole justification for which lies in their
enchanting sound.[149]
[Footnote 149: For a very clear tabular view of the structure of
this Sonata see d’Indy’sCours de Composition Musicale, Book
II, p. 332.]