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FIGURE XLIX.

The appearance of the second theme, on its return, in the key of C-major instead of E-flat major, imparts organic solidity to the movement by its insistence on the tonic key, as in similar cases in the sonata-form (compare again Chapter VI). It is also this time made to germinate into eight additional measures (see Figure XLIX).

In the final section A (172-end) the little motive of the transitions does further duty, and a new figure is introduced in measure 194. After the pause of measures 202-203, we have brief hints, piano, of the main theme, and then with one of the sudden fortissimos Beethoven loves so well, a precipitous downward scale ends the movement with vigor.

III. SUMMARY.

The "Path?ique Sonata" illustrates most vividly the general truths about its composer's first period which we have tried to bring out above. The similarity to the style of Haydn and Mozart is most striking. Not only do we find the general types of structure developed by them applied with great fidelity, but there are many details of style, such as the accompaniment figures and the ornamentation, which recall them. Yet the strings, so to speak, are all tightened, there is not a trace of flabbiness or diffuseness, everything irrelevant is omitted, and the style is at once more varied and more unified than theirs. The vigor and individuality of all the themes is consummate; the organic beauty of such themes as that of the Adagio is supreme. The transitions are notable for their pertinency and derivation from the thematic materials of the movement—there are no empty scales and arpeggios. The developments give the impression of inevitability, of growing from the primary motives as naturally as plants grow from their seeds. Contrast in rhythm, in melody, in harmony, and in style (as exemplified in the use of polyphonic style in the finale) abounds. There is never a dull moment, yet interest is never secured at the expense of unity. Above all, the virility, profundity, and earnestness of the expression, surprise us; there is here none of the detachment, the cool remoteness, of classic art; every note throbs with personal feeling—music has left the innocence and transparent gaiety of childhood behind it, and begun to speak with the deeper and more moving, if less serene, accents of maturity.

In the next chapters we shall trace this progress further.

SUGGESTIONS FOR COLLATERAL READING.

E. Dickinson: "The Study of the History of Music," Chapter XXVI. C. H. H. Parry: "The Evolution of the Art of Music," Chapter XII. D. G. Mason: "Beethoven and His Forerunners," Chapters VII, VIII, and IX.