Page:Rolland - Beethoven, tr. Hull, 1927.pdf/185

This fine Sonata, too often made a mere piece of virtuosity, was dedicated to Beethoven's early friend and patron, Count Waldstein. The form is remarkable. A first movement, full of light and colour, and the romantic Molto Adagio forming an introduction to the final Rondo with its magnificent Coda. Beethoven originally intended the famous Andante in F for the slow movement of this Sonata, but finally discarded it in favour of the present slow introduction. The second hymn-like subject of the first movement does not appear in the tonic key, either in the exposition or in the recapitulation, but only after the final development near the end of the piece. The simple subject of the Rondo was the result as shown of six separate attempts in Beethoven's note-books. The whole meaning of it is lost unless the low C of the left hand is taken into the phrase. It will then be seen to have a close connection with the opening figure of the introduction. The full effect of the Coda is often lost by the preceding Rondo being taken too fast.

The glissando octave passage in it is very difficult on modern pianos on account of the deeper key fall.