There is no counterpart in the exhibition for this hectic pace.
Therefore, it is possible that Beethoven himself made the change. Early editions print D♭, but it is changed to C in an extant copy given as a gift by the composer. The last note of this measure, a sixteenth note, is in dispute. The evidence can be traced through five parts in which Beethoven commented that the passage should sound like a voice in a vault. Some publishers offer alternatives in the use of the pedal, and some recommend a half pedal. Line results get blurry, especially nowadays with modern pianos. These are marked to be played with the pedal in all early sources. The motifs that open the movement are each expanded with single-line recitatives. The recapitulation is unusual in that much of the material is rewritten, more so than in any other of the composer's piano sonatas to this point. This section functions as a transition to the recapitulation, unfolding in a pattern of eight notes in thirds that decorate the dominant harmony and coming to rest with descending whole-note chords and a descending monophonic line. and D minor, and coming to rest on the dominant of the opening tone. The four-note motif in its Allegro form provides the basis for this section opening in F♯ minor, moving to outline tonic chords in B minor, G major, C major, A major. The broken chord arpeggios heard in the opening return, now more elaborate and written with grace notes, move from the second inversion in D major through an inversion of a diminished triad on D♯ to the second inversion of F♯ major, each arpeggio culminating in the reaffirmation of the prominent four-note motif in the exposition.
After opening with cadences of syncopated chords, it continues with hands exchanging motifs, one hand playing eight-note patterns, the other playing two-note slurs and longer sustained lines. The second theme area opens in the dominant minor, being linked to the second motif of the first theme by its use of a two-note figure in eighth notes, albeit in a different pattern.Ī new section on minor acts to bring the exhibition to a close. The second motif comprises a fast two-note eighth-note figure, in Allegro tempo, beginning at bar to bar 3. This ascending chord motif reappears in the Allegro section from bars 21 and 22, here without introductory arpeggios. Slowly rolled chords that start a four-note motif, it would seem the Signature of Beethoven. The first is an ascending chord scheme that appears in a Long tempo, bars 1 and 2, 7 and 8. The first theme consists of two motivic ideas.
8, although in this work the opening slow is much shorter and indicates a motif that becomes an integral part of the first theme wherever it is used. The slow opening and its appearance throughout the movement is reminiscent of the first movement of sonata no. First Movement: d minor | Largo-Allegro | 4/4 Alla Breve | Sonata-allegro, the exposition is repeated Movement Observations
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