in the second theme of the Exposition which begins in measure
17, and the passionate outcries in measures 35 and 37 of the
middle portion. Just before the Recapitulation, in measures 41-
43, is an early example of Beethoven’s fondness for instrumental
recitative—music speaking with a more intimate appeal than
words. The movement ends with an impassioned Coda which,
beginning with the main theme in the bass and working up,
more and more agitato, to a powerful climax, dies away with
mysterious fragments of the opening measures. The dissonant
element so characteristic of the whole movement is retained to
the end,e.g.
[Music]
[Footnote 146: According to d’Indy it is more truly pathetic
than the entire so-calledPathetic Sonata.]
The growing importance of dissonance may be seen from a com-
parison of this movement with the average slow movements
of Haydn and Mozart These, although they have serenity and
grace, beauty and finish of form, and are sincere manifestations
of the genius of their creators, are yet lacking in passion. This
placid mood and amiability of style is shown by the compar-
atively slight employment of dissonances. By unthinking and
uncultivated persons dissonances[147] are often considered as
something harsh, repellant—hence to be avoided. But disso-
nances contain the real life and progress of music. They arouse,
even take by storm our imaginations and shake us out of our
equanimity. Consonant chords represent stability, satisfaction
and, when over-used, inertia. The genius of the composer is
shown in establishing just theright proportionbetween these
two elements; but if there is to be any disproportion let us have
too much rather than too little dissonance, for then, at any
rate, the music isalive. Since Beethoven the whole develop-
ment of music as a human language shows the preponderating
stress laid on dissonance; to this fact a knowledge of the works
of Schumann, Chopin, Wagner, Debussy and Franck will am-
ply testify.[148] The same analogy holds equally in all realms of
life, human and physical. The truest development of character
depends on the warring elements of good and evil. Honest dis-
content is the first step to progress. Dissonance is the yeast of
music and should be welcomed for its invigorating influence.
[Footnote 147: A frequent confusion of thought is shown in the