was exquisitely shaded, and to the following bars:—
Beethoven's manner of holding down particular notes, combined with a kind of soft gliding touch, imparted such a vivid colouring, that the hearer could fancy he actually beheld the lover in his living form, and heard him apostrophising his obdurate mistress. In the following groups of semiquavers—
he strongly accented the fourth note of each group, and gave a joyous expression to the whole passage, and at the succeeding chromatic run he resumed the original time, and continued it till he arrived at this phrase,—
which he gave in tempo andantino, beautifully accenting the bass, and the third notes of the upper part of the harmony, as I have marked them in the two last bars of the subjoined example, thereby rendering distinct to the ear the separation of the two principles. On arriving at the ninth bar,—
he made the bass stand out prominently, and closed the succeeding cadence on the dominant in the original time, which he maintained without deviation to the end of the first part.
In the second part Beethoven introduced the phrase in A flat major, by a ritardando of the two preceding bars. He attacked this phrase vigorously, thus diffusing a glow of colour over the picture. He gave a charming expression to the following phrase in the treble by strongly accenting and holding down longer than the prescribed time the first note in each bar,—