unity of movement in this work which is not always observed.
In a general way the eighth note in the introduction, the whole note in
the allegro, and the eighth note in the adagio, and the half note in
the rondo go at about the same rate--approximately, from sixty to
seventy-two by the metronome. If any modification is made, take the
rondo faster, say about eighty-four.

A very important technical point of the work is the treatment of the
chords in the introduction and in the allegro. All must have a melodic
quality in their highest tones, since the melody passes through the
chord. Neglect of this imparts a brutal and unmusical quality to the
tones of chords struck so forcibly. Throughout the work strong
contrasts continually occur between the impassioned motive and the
pathetic or appealing idea. These two elements struggle for mastery.
The adagio is one of those slow movements for which Beethoven was
noted; the cantilena is lovely and the sentiment deep and tender.

In some respects the sonata upon the second program is even more
remarkable. Its general build is rather light and pleasing, and
neither in length nor in dramatic contrast is it to be compared with
most of the "Pathetique." Especially is this the case when we confine
our attention to the light and pleasing first movement and the finale.
The latter, opening with that capricious little motive which seems to
say "Why don't you?" is all the way arch, sprightly, and pleasing. But
the second movement is one of the strongest and most impassioned in all
the sonatas. It opens grave, serious, as if fate herself impended. A
very slow and appealing motive is carried out thematically, almost in
the modern style of Schumann or Brahms. It is a slow movement which
might have been played upon Olympus or in Walhalla--provided the
dissipated gods of the old dispensations had been developed to the
capacity of remorse and repentance. Out of this profoundly sad,
despondent, slow movement grows the tender flower of the delicious
menuetto in D major which follows it. This is not to be taken too
fast, remembering that we have our fast movement still to settle with
later. It is a melodious, tender, gentle movement, which is one of the
most characteristic and beautiful of the kind to be found anywhere in
the entire list of the sonatas. In point of technical difficulty this
sonata presents no very great problems.

The Sonata in A-flat, commonly remembered from the "F