Page:Rolland - Beethoven, tr. Hull, 1927.pdf/195

vocal forms of the great Mass in D which was occupying his thoughts at this time. The rhapsodic first movement with its light and happy figures, repeatedly broken in upon by the deeply expressive Adagio phrases; the remarkable uncouth Scherzo with the subject in the bass and the angelic variations, one in fugue form, and the other a tour de force with its thrilling pedals, the beatific return of the theme at the end, given this sonata a high place amongst the happiest conceptions of the master.

The autograph is dated December 25th, 1821, and the work appeared for the first time in August, 1822. Here we find Beethoven in his most exalted mood, and it is significant that whilst the main outlines of the Sonata-form are at the foundation of the piece, he has gone still a step farther in the direction of welding the whole sonata into one piece. The first, the movement of development, is on the usual lines but is handled with great freedom. The second movement is one of those fast pieces, somewhat fantastic, with which Schumann has made us familiar at a later period. A remarkable recitative bridge portion follows which leads into one of the most beautiful