第1楽章 Allegro

第2楽章 Andante

第3楽章 Scherzo:Allegro assai

第4楽章 Rondo:Allegro ma non troppo

The second movement’s.narrative, much more severe in mood, is personal and inward-looking, its measured accompaniment perhaps closer to the sound of an implacable clock. A brighter middle section () brings some playfulness with a dotted triplet motif, but the merrymaking only lasts its allotted 16 bars, unable to stave off a return to the bleaker world of the main theme. In the coda (), Beethoven allows the music to become truly tragic, a reflection of inner pain and perhaps a deeply felt commentary on the fragility of a single life.

With the advent of the scherzo.the shadow has passed. A quadruple descending call is answered by an energetic rhythmical motif, as Beethoven resolutely effaces any residual darkness with the most vigorous, driven movement of the sonata.

The finale.with its bagpipe-like drone in the bass, brings back the tone of the first movement – calm and mostly gentle, transparent in texture, radiant in its sound. Its climaxes flex a bit more muscle than those of the opening movement; hinting, perhaps, at the coda, where Beethoven finally lifts all restraints and brings in the exuberant, exultant, Bacchic side of nature to end the sonata in a D major blaze.

Theme 1. Melody over tonic pedal, with A-D-E-F#-G-F# motif (Motif A) at m.7.

Transition Theme. Motif B at mm.41-42.

TG2, Theme 2. Long cantabile melody, moving from dominant of (iii) to (V). Bass hovers first around C#, then B, which becomes the dominant of (V).

TG2, Theme 2 reappears, still in (V)

TG2, Theme 4 (cadential theme). Note rhythmic anticipation of the Scherzo.

Theme 1 in G

Motif A in RH, with bass counterpoint that partially draws on TG2 Theme 3’s rapid descending scales. Switches into D mi, with Motif A moving into bass. Motif A is broken up, and its tail is increasingly integrated into 2-part invertible counterpoint in 2-bar groups that moves through A min till

38(!) bars on the dominant of B min, extensively using reduced Motif A in contrary motion

Theme 1. At the melody’s repeat, the ornamentation from the development section is included. Another lovely touch is how TG2 Theme 3’s descending scale is incorporated into Theme 1 at .

Theme Group 2. The cadential theme is extended by 2 bars.

Melody 1, closing on A minor

Melody 3 (variant of Melody 1)

16-bar melody in 4 groups of 4. First section ending in dominant, second passing through subdominant to end in tonic

Melody 2 & 3, unaltered, then repeated at with demisemiquaver variation

Allusion to Trio. Triplet descent lengthened into descent down dominant 9th, then a stark 4-bar close.

Idea 2: Rising sequence, reaching dominant, before Idea 1 returns

Idea 3 reharmonised in D maj, then returning to B min

Repeat, with initial F# sounding as dominant of B min

Transition

Cadence Theme

C: EPISODE 2, G maj

Prolonged dominant, reminiscent of EP 1’s Cadence Theme

Transition, diverted at 6th bar into home dominant

Cadence Theme

Bass of main theme, with brilliant figuration in RH, then 4-bar flourish to close

Allegro

Andante

Scherzo: Allegro vivace

Rondo: Allegro ma non troppo