Of this theme (the motto) in various forms much use is made during the course of the finale. Here, for instance, is an interesting passage, the latter part of which (meno mosso) is a metamorphosis of this theme:—
Gretchaninoff, Op. 2.
The almost orchestral effect of extended unison passages such as this and the previous example is perhaps hardly admissible in the chamber music form. Yet in the works of the classical masters (Cherubini, for instance) such passages may at times be found.
