By a softly gliding transition from earnest gravity to tenderness and feeling, the eighth bar introduces the entreating principle alone.
This suing and flattering strain continues until the middle part is taken up in D major, when both principles are again brought into conflict, but not with the same degree of earnestness as at the commencement. The resisting principle is now relaxing, and allows the other to finish without interruption the phrase that has been begun.
both approximate, and the mutual understanding is rendered distinctly perceptible by the succeeding cadence on the dominant.
In the second section of the same movement the opposition is again resumed in the minor of the tonic, and the resisting principle is energetically expressed in the phrase in A flat major. To this succeeds a pause on the chord of the dominant, and then in E flat the conflict is again resumed till the tranquil phrase
comes in as it were like a preparation for mutual concord, for both repeat several times the same idea, resembling an interrogation, beginning slowly, and with lingering pauses, then over and over again in rapid succession. The introduction in the tonic of the principal motivo renews the conflict, and the feelings alternate as in the first part; but, at the conclusion of the movement, the expected conciliation is still in suspenso. It is not completely brought about until the end of the Sonata, when it is clearly indicated, and as it were expressed, on the final close of the piece, by a distinctly articulated "Yes!" from the resisting principle.
