Scan 229
The American history and encyclopedia of music, 1908
4 lines. Read by computer on 9 September 2026. No printed page number was found. See the scan on archive.org.
1Before plunging into this development Beethoven uses four measures of the first mood, plaintive, pathetic, harking back, then again its double time, but this time in an unusual key, E minor, the major third step of the scale. The same accompaniment is used as in its principal theme. The theme occurring in its upper part, then in the bass with the same accompaniment on top, then dropping to the lower regions of the instrument, with the vibrato accompaniment on an organ point, a weird four measure section, with a fraction of first theme of also four measures, both separated, closing with a running downward figure. This part, without even a suggested ritardando, comes to a close, and at the same time begins the return movement of the first theme. The second theme, this time, is not, as usual, in the original key, but in that of the fourth step, F minor, but its second part comes back to its right key, C minor, otherwise following its exact course but at the end suddenly swerving aside with two crashing diminished chords, with a long wait on the last chord, again producing that first mentioned effect of impending crisis, then four measures of the introduction built on this same diminished chord-harmony, after which the coda, of twelve measures, crashes, as it were, thereby bringing this stormy movement to a full close.
3The second part is an adagio cantabile, very slow and in the major key of the third below, or A flat major, four-four time, in singing style, a movement in the two-part binary form. A deeply felt and tender melody of eight measures with a simple accompaniment is its first theme. This is repeated with double accompaniment an octave higher, after which enters what is sometimes called its second theme, and is often defined as the second part or continuation of the first theme. However, it is so distinctly contrasting, more like a free fantasia-like figure on a violin, that it may be termed its second subject, although not referred to again. The first eight measure theme now occurs again, in the original key, A flat major, but the next two measures bring a new short theme in the same key in minor,
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