In place of answering in the fifth, it answers in the
octave.

It is unnecessary to add that this is a pure fancy-piece, the
imitations being unexpected and capricious, and never for the sake of
completing a pattern or form. The trio is a complete contrast, and
very free and effective upon the keyboard. Then, after the return of
the scherzo, we have a delightful coda of twenty-three measures.

Less pronounced, but very beautiful, is the allegretto from the
so-called "Moonlight Sonata," opus 27, No. 2. This is gentle, and
designed to mediate between the intense sadness of the first movement
and the equally intense and impassioned sorrow and longing of the
finale.

The sonata-piece is one of the most serious and diversified movements
known to music, and while continuous and characterized by great unity,
it is also rather complicated. Hence it will not be properly
appreciated except by those who observe the leading ideas as they enter
and recall them when they turn up again in the course of the treatment
and development. When a sonata is written for orchestra it becomes a
symphony, in which form the different ideas are more easily followed
because they derive a certain individuality from the tone-color of the
instrument first announcing them. When an artist plays a sonata he
seeks to intensify the individuality of the leading ideas and thus aid
the hearer in recognizing and remembering them.

The first example of sonata-piece is the rather light and pleasing
allegro which begins the Sonata in G, opus 14, No. 2. The Principal
subject lasts through twenty-four measures, the Second entering in the
key of D with the beginning of the twenty-fifth measure. The
Conclusion begins with the forty-seventh measure. Counting from the
double bar, the Elaboration lasts, including the pedal point upon the
dominant which prepares for bringing back the Principal, sixty-one
measures. There the first part begins over again.

The first movement of the Sonata in F minor, opus 2, No. 1, is shorter
and the subjects less marked than in any other sonata of Beethoven. It
also has less "stuffing," the ideas following with very little passage
work between them. The Principal lasts twenty measures, the Second
beginning with the F-flat in the soprano at the end of the twentieth
measure. The Conclusion begins with the C-flat in the soprano, in
measure forty-one. The Elaboration lasts sixty-two measures.

The "Sonate Pathetique" begin