The first movement is the usual development form, the first subject being composed in Beethoven's usual manner of two figures here, (a) upward flight, (b) soft chords. It ends with a decided perfect cadence, the bridge subject entering after a bar's silence. It is noteworthy that the second subject on its return appears in F major, before settling down finally into C minor. This first movement, although in the minor, breathes a happy contented spirit, which deepens into seriousness in the Adagio. This opens with a beautiful 16 bar phrase. We then pass straight into the second subject, a florid one in a lighter vein of thought, closing in E major. A sprinkled dominant seventh takes the place of the development section, and the whole is then repeated. For the Coda, the first subject has passed into that serene happy atmosphere which only Beethoven's spirit seems to have penetrated. The Finale is again cast into development form, and is typical of the way Beethoven expands his movements from the smallest idea. There is a beautiful hymn-like second subject. Characteristically enough, just before finishing this bubbling movement joyfully, the composer falls into a deep reverie, but only to brush it aside almost impatiently by returning to the original idea. 6th SONATA, Opus 10, No. 2, in F major. _Allegro--Allegretto--Presto._ The tenth Opus, which first appeared on September 26th, 1798, contains three Sonatas, all dedicated to the Countess von Brovne. The Sonata is in three movements--the first a movement of development, the second a _Scherzo_, and the third a playful _Presto_. The whole Sonata is cast in happy mood. The mysterious and somewhat eerie feeling of the Minuet being completely dispelled by the happiness of the Trio (which, curiously, enough, Brahms seems to have written over again in his Scherzo in E flat minor). The mood at the first part of this _Scherzo_ has a close relationship with the _Scherzo_ in the _Eroica Symphony_. There are several noteworthy points about the development of the first movement. It opens with a treatment of the last three notes of the exposition in capricious manner. The development closes, too, with this idea, but it also contains a completely new subject in D minor. The prevalence of this tonality brings in the return section irregularly in D major. The _Presto_ is one of those playful movements, full of fun and written broadly in Sonata form lines. 7th SONATA, Opus 10, No. 3, in D major. _Presto--Largo e mesto--Menuetto--Trio--Rondo._