The first subject of the opening movement is a typical Beethoven one, evolved from a short figure of two bars. Some brilliant passage work then occurs. It was certainly Beethoven's custom at this early period to regard such passages in a more physical sense. The second subject enters with a dominant minor section, followed by a major section, in which appears some fine canonic work. The minor part of this subject, which was adapted from an early pianoforte quartet which Beethoven had written in his youthful period, abounds in the turns and trills characteristic of that time. The broken octaves in the coda are frequently rendered now-a-days by alternate double octaves between the two hands in demisemiquavers. The development is much more Beethovenish, containing some striking double octave cataclysms. There is also a very fine enharmonic change from an F minor chord to F sharp minor. The Coda is noteworthy as it includes some fine arpeggio effects and a striking slow _cadenza_. The second movement, _Adagio_ in E major, opens with one of Beethoven's dignified slow themes, which is sandwiched in Rondo fashion with disturbing episodes throughout. The first episode (in E minor) contains conversational work between the bass and the treble, the left hand crossing the right for the latter. At the end of the return of the first theme, there is a very striking example of an interrupted cadence--the dominant chord of E major being followed by the tonic chord of C. The _Scherzo_ (three-four time) is in C major, and should be taken at a fast rate. It is one of those movements which would have been better written in six-four time by running two bars into one. The final movement is a grandiose Rondo--six-eight time--in C major, which requires a good technique, especially for the left hand. The second subject is somewhat conventional, but the next episode contains one of those lovely hymn-like tunes in which Beethoven delights. For the third episode, the subject of the first episode is repeated, but here in the tonic key; thus making the form what is known as Modern Rondo or Sonata Rondo, in contrast to the old Rondo in which every episode was different. The _Coda_ is remarkable and is certainly of the virtuoso order. I never play it without thinking of the _Coda_ to Mendelssohn's _Wedding March_. The sequences at the 15th bar after the _Vivacissimo_ are not easy to finger. D'Albert fingers the upper part, 3, 4, 5, and the lower three notes with the thumb. Larger hands will produce a better effect by fingering the right hand top notes, 4, 5, 5, and the alto, 2, 1, 1. The triple shake near the end is frequently played by an alternation of six-four chords in either hand. There is a remarkable example of an interrupted cadence here, where D becomes D sharp leading to an A major chord. These unexpected rallentandos and calando before the strepitous rush home become a standing characteristic in Beethoven's music.