Adagio cantabile (4 bars)—Allegro ma non troppo—Allegro vivace.
This Sonata was composed in October, 1809 (considerably later than Les Adieux Sonata, which was published in July, 1811) and appeared for the first time in December, 1810. Thus an interval of five years separates it from the Sonata Appassionata. It was dedicated to the Countess von Brunswick, and the piece was a special favourite with the composer. A delightful feeling of happiness pervates the whole piece, and one cannot help feeling that this cheerful mood drew the composer to the choice of this radiant key. The first four bars form a sort of question to which the succeeding Allegro supplies the answer.
The movements are succinct in form, almost epigrammatic, and whilst very gracious and pleasing, are not hefty for all sorts and conditions of hands. The opening phrase of the Finale is very striking, so, too, is the coda with its wonderful disappointed cadence and its equally marvellous finish. The intricate work of the arpeggios relates it to the E major Sonata, Opus 109, and all the way through it, there is a curious oscillation betwixt major and minor modes.
25th Sonata, Opus 79, in G.
Presto alla tedesca—Andante—Vivace.
This is practically a Sonatina, and calls for little mention. Some authorities regard it as an unfinished sketch, whilst others ascribe it to a considerably earlier date although it was clearly completed in 1809. The term Tedesca means "in the German style," and has reference to the country dance, Ländler. Beethoven employs the term only twice in his published works—here and in the fifth movement of the B flat quartet, Opus 130, where he describes the movement in one of the sketches as Allemande Allegro. In a Bagatelle, No. 3 of Opus 119, he uses the term in French, A l'allemande.
The first movement gives some good practice in crossing the hands. The second movement might easily be mistaken for a gondolier's song by Mendelssohn. The third movement is a lively Con Moto in simple Rondo form.
26th Sonata, Opus 81a, in E flat.
Adagio—Allegro—Andante espressivo—Vivacissimamente.
Styled by Beethoven himself, Les adieux, l'absence, et la retour. (The parting, the absence, and the return). As such it is the finest piece of programme music ever written. It is dedicated to his friend and patron, the Archduke Rudolph, but it is not known definitely that it was connected with the absence of the Archduke himself. The general feeling seems to suggest a more tender attachment. The music is Beethoven at his very best, and is truly representative of his mature period. The interrelation of the whole of the music, its close affinity with the opening musical motto of three notes, under which Beethoven wrote Lebe-wohl (Fare thee well) is astounding. Whether written in clear notes or obscured subtly, this leading motive lies at the bottom of every phrase. It is the generating idea, the essence of the whole Sonata. Although we have styled it programme music, it would be the greatest mistake, however, to regard it as something pictorial and definite. The idea is only used as the generating impulse of each of the three chief movements, and the work loses no whit (perhaps, even gains) by being heard as a piece of absolute music. Those interested in musical psychology will find it, however, a most interesting study to trace the derivation of the various phrases of the opening Allegro of the Andante (see bass chords), and even of the Finale to one of the two tiny cellules found in the first three bars of the introduction. The movements are all in Sonata form. The Andante has no development section and runs into the Finale without break.