The first movement opens without introduction with the famous phrase of four unison notes which Beethoven once explained as "Thus fate knocks at the door."
From this tiny germ the whole of this fierce stormy movement is evolved. Not even the beautiful tender second subject, nor the lovely little unbarred oboe cadenza can win it away from this rugged fierce mood. When this second subject appears in the recapitulation, still in the minor, the atoning major outburst which immediately follows is quickly brushed aside by the impatience of the reinstated first theme. Even the limitations of the old-fashioned horns and trumpets in those days seemed to be turned to advantage in the colossal bare thirds and fourths of the "Fate" notes.
The chief theme of the Andante, wonderfully sad, yet wonderfully beautiful, is further enhanced by one of those majestic marching subjects which only Beethoven could conceive. The beauty of the wood-wind work is remarkable and the coda is full of strange fancies.
The Scherzo has some eloquent bass passages, and its rhythmic horn figures are full of veiled mystery and heavy with some dark foreboding.
