26th Sonata, Opus 81a, in E flat.
Adagio—Allegro—Andante espressivo—Vivacissimamente.
Styled by Beethoven himself, Les adieux, l'absence, et la retour. (The parting, the absence, and the return). As such it is the finest piece of programme music ever written. It is dedicated to his friend and patron, the Archduke Rudolph, but it is not known definitely that it was connected with the absence of the Archduke himself. The general feeling seems to suggest a more tender attachment. The music is Beethoven at his very best, and is truly representative of his mature period. The interrelation of the whole of the music, its close affinity with the opening musical motto of three notes, under which Beethoven wrote Lebe-wohl (Fare thee well) is astounding. Whether written in clear notes or obscured subtly, this leading motive lies at the bottom of every phrase. It is the generating idea, the essence of the whole Sonata. Although we have styled it programme music, it would be the greatest mistake, however, to regard it as something pictorial and definite. The idea is only used as the generating impulse of each of the three chief movements, and the work loses no whit (perhaps, even gains) by being heard as a piece of absolute music. Those interested in musical psychology will find it, however, a most interesting study to trace the derivation of the various phrases of the opening Allegro of the Andante (see bass chords), and even of the Finale to one of the two tiny cellules found in the first three bars of the introduction. The movements are all in Sonata form. The Andante has no development section and runs into the Finale without break.