is in four movements: the
first, complete Sonata-form; the second, modified Sonata-form; the
third, Three-part; the Finale, a freely treated Rondo-Sonata-form. The
first movement, Presto, begins with a vigorous presentation of the
main theme which ends in measure 22 with the last of three _ff_
octaves. The unusually long transition, containing a subsidiary theme
in B minor, is remarkable for its onrushing excitement and for the
playful false leads which usher in the second theme. After a brilliant
cadence in the dominant key, one would suppose this theme might be
announced in measure 53, but not so; after three measures of cantabile
melody, progress is interrupted by a group of descending octave leaps.
A second attempt is now made, this time in A minor, only to be
thwarted by a still more capricious octave descent. This time,
however, after a dramatic pause, we are rewarded with a clear-cut,
periodic melody beginning in measure 66, against which the rhythm of
the first theme keeps up a gentle undercurrent. Some interesting
modulations develop into a series of descending octaves which,
accompanied by _sf_ chords, lead to the closing portion. This
brilliant passage accentuates the dominant key of the second theme.
After a short tranquillo phrase and some free imitations of the main
theme we repeat the Exposition, or go on to the Development ushered in
by a bold change to the mediant key of B-flat major. After several
appearances of the main theme in the bass, Beethoven takes a leaf out
of D. Scarlatti's book and revels in some crossing of the hands and
some wide leaps. The Recapitulation corresponds exactly with the first
part until we reach the Coda in measure 298, which affords a striking
example of Beethoven's power of climax. After a long period of
suspense an imitative treatment of the first theme, with kettle-drum
effect in the bass, leads to a stringendo ascending passage which
closes with two crashing dissonances and two peculiarly grouped
chords, _e.g._

[Music]

They have a hard, cutting brilliance all their own and give just the
touch of color needed to finish this dazzling movement.[145]

[Footnote 145: By Beethoven everything is carefully planned. Note in
performance the contrast of mood suggested by these final chords and
the sombre register of the opening chords of the Slow Movement.]

In the Slow Movement, Largo e Mesto, there is a depth of emotion quite
unparalleled in the early history of music.[14