The closing cadence[282] of the movement, one of the most original and truly beautiful in all literature as it seems to the writer, furnishes a marvellous contrast to the stormy measures immediately preceding.
The Finale is perhaps the most spontaneous canon in existence, an imitative dialogue between the two instruments; this form (which is often rigid and mechanical) being used so easily that it seems as if each instrument were naturally commenting upon the message of the other. Observe also the sonorous background provided for the violin melody by the widely spaced chords on the pianoforte, e.g.
The first episode, beginning in F-sharp minor at measure 38, is based on the third generative phrase (c) brought over from the Fantasia and embroidered by running passages (delicato) on the violin. This leads to a return of the canonic first theme which, with an interchange of statement and answer and with free modulations, is developed to a brilliant climax—the canon still persisting—in the dominant key of E major. Some transitional modulations, in which the excitement cools down, bring us to the second episode, in B-flat minor. This at first develops the phrase (b) from the middle part of the second movement, e.g.
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and later, also in the bass, a phrase from the main theme, e.g.