The development begins with a restatement of the poignant introduction-motive, so managed that it leads into the remote key of E-minor. Now begins, with the resumption of the allegro tempo, a rather short but most interesting treatment of the first theme, continued with an ingenious variant of the introduction-motive (measures 142-143, 148-149: see Figure XLVII (b)), followed by the transference of the fragment of the first theme to the bass, where it is thrice repeated, amid constant modulation. Then, in the measure following 169, comes one of those inimitably hushed, mysterious passages so peculiar to Beethoven, through which, like fountains from a sombre pool, rise fragments of the first theme. Then, with a rapidly descending passage, the movement plunges into its recapitulation.
This section the reader will have no difficulty in analyzing for himself, not failing to note the felicity with which a new transition, from first to second themes (209-222), is made to germinate from the last two measures of the main theme. The coda, very brief, contains nothing but a final announcement of fragments of the introduction-motive and a single sentence of the first theme.
EXAMPLE FOR ANALYSIS, No. 18.
Beethoven: Piano Sonata, opus 13. Second movement.
This slow movement, a beautiful adagio cantabile in Beethoven's tranquilly serious mood, takes on the sectional form of the rondo, consisting of a theme (A), an episode (B), recurrence of the theme (A), a second episode (C), second recurrence of the theme (A), and brief codetta.
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FIGURE XLVIII.
The theme itself, filling only eight measures, but repeated at a higher pitch in the second eight measures, is a fine example of the variety in unity of Beethoven's melodies, secured only after much laborious sketching. It is shown in Figure XLVIII, and should be examined carefully. Almost every measure of it presents a new rhythm, so that there is none of the monotony of those themes which endlessly repeat a single rhythmic figure. (Compare the tunes of primitive savages shown in Chapter I.) Yet the whole melody is so deftly composed that its final impression of unity is perfect. The sequence form which the harmonies of the last four measures take contributes in no small degree to this impression of unity.
The theme being in the key of A-flat, both episodes are planned to give variety of key, the first (B—measures 17-28) being in the relative minor, F-minor, and the second (C—measures 37-50), beginning in A-flat minor and modulating, through E-major, back to the home-key.