At the following phrase—
a joyous character was expressed. The original tempo was taken, and not again changed till the close of the first part.
The second part, from this passage
forward, was characterised by an increased breadth of rhythm, and augmented power of tone, which, however, was further on shaded into an exquisitely delicate pianissimo; so that the apparent meaning of the dialogue became more perceptible without any over-strained effort of imagination.
The second movement Allegretto was, as performed by Beethoven, more like an Allegro furioso; and, until he arrived at the single chord—
on which he made a very long pause, he kept up the same tempo.
In the Maggiore, the tempo was taken more moderately, and played by Beethoven in a beautifully expressive style. He added not a single note; but he gave to many an accentuation which would not have suggested itself to any other player. On the subject of accentuation I may state, as a general remark, that Beethoven gave prominent force to all appoggiaturas, particularly the minor second, even in running passages; and in slow movements his transition to the principal note was as delicately managed as it could have been by the voice of a singer.