The first subject of the opening movement is a typical Beethoven one, evolved from a short figure of two bars. Some brilliant passage work then occurs. It was certainly Beethoven's custom at this early period to regard such passages in a more physical sense. The second subject enters with a dominant minor section, followed by a major section, in which appears some fine canonic work. The minor part of this subject, which was adapted from an early pianoforte quartet which Beethoven had written in his youthful period, abounds in the turns and trills characteristic of that time. The broken octaves in the coda are frequently rendered now-a-days by alternate double octaves between the two hands in demisemiquavers.
The development is much more Beethovenish, containing some striking double octave cataclysms. There is also a very fine enharmonic change from an F minor chord to F sharp minor. The Coda is noteworthy as it includes some fine arpeggio effects and a striking slow cadenza.
The second movement, Adagio in E major, opens with one of Beethoven's dignified slow themes, which is sandwiched in Rondo fashion with disturbing episodes throughout. The first episode (in E minor) contains conversational work between the bass and the treble, the left hand crossing the right for the latter. At the end of the return of the first theme, there is a very striking example of an interrupted cadence—the dominant chord of E major being followed by the tonic chord of C.
The Scherzo (three-four time) is in C major, and should be taken at a fast rate. It is one of those movements which would have been better written in six-four time by running two bars into one.
The final movement is a grandiose Rondo—six-eight time—in C major, which requires a good technique, especially for the left hand. The second subject is somewhat conventional, but the next episode contains one of those lovely hymn-like tunes in which Beethoven delights. For the third episode, the subject of the first episode is repeated, but here in the tonic key; thus making the form what is known as Modern Rondo or Sonata Rondo, in contrast to the old Rondo in which every episode was different. The Coda is remarkable and is certainly of the virtuoso order. I never play it without thinking of the Coda to Mendelssohn's Wedding March. The sequences at the 15th bar after the Vivacissimo are not easy to finger. D'Albert fingers the upper part, 3, 4, 5, and the lower three notes with the thumb. Larger hands will produce a better effect by fingering the right hand top notes, 4, 5, 5, and the alto, 2, 1, 1. The triple shake near the end is frequently played by an alternation of six-four chords in either hand. There is a remarkable example of an interrupted cadence here, where D becomes D sharp leading to an A major chord. These unexpected rallentandos and calando before the strepitous rush home become a standing characteristic in Beethoven's music.
4th Sonata, Opus 7, in E flat.
Allegro molto e con brio—Largo con gran espressione—Allegretto Minore—Rondo.
This Sonata which appeared for the first time on October 7, 1797, is dedicated to the Countess Babette von Keglevics. The composer, at the age of twenty-seven was rapidly winning his spurs, but still wrote on the old lines and with the customary four movements. His Minuet however has now become a lively movement and lost all traces of its origin in the stately dance. It is quite likely, however, that the Minuets of Haydn and Mozart were also taken at a lively rate, incompatible with the dance.