This Sonata is one of the greatest works of the first period, if not, indeed, the greatest of them all. The first movement is a wonderful evolution from the first four-note figure, the development full of all kinds of strong devices, the stormy episode in the middle based on the rhythm of the opening phrase of the Sonata and the marvellous slow movement full of passion and tenderness, from its opening five-bar phrase to its beautiful close with those amazing tonic pedal chords. The spirited Minuet, really a _Scherzo_ with two bars taken as one, is admirably contrasted with the Hunting Song of the _Trio_. Did Beethoven ever use the horse which Count Brovne gave him? The fine Rondo is cast on the old lines but filled with such new feeling. The structure of the slow movement is in song form with five sections:-- (a) Theme in D minor in two parts with cadences in C major and A minor. (b) Modulatory section from F to D minor. (c) Theme in D minor with cadences in B flat and in D. (d) Development of the (a) and (b) sections. (e) Concluding portion. 8th SONATA, (Pathétique), Opus 13, in C minor. _Grave--Allegro di molto e con brio--Adagio cantabile--Rondo._ Published for the first time in 1799, and dedicated to the Prince Carl von Lichnovsky. Although one of the few authentic titles, it is difficult to see the meaning of its bearing of the Sonata as a whole, unless indeed it is applied to the sad and dramatic introduction theme which, indeed, deserves as a leading motive to the first movement being introduced before the development section, and it ends just before the coda. The slow movement is of wonderful serenity and breathes a great religious calm. Still, it was a great offence against good feeling to make the single a double chant out of it as one of our cathedral organists has done. The Rondo does not quite reach the high plains of the first two movements, it was probably written much earlier; note the reflective mood again just before the final whirlwind. There is no Scherzo or Minuet in this Sonata. 9th SONATA, Opus 14, No. 1, in E major. _Allegro--Allegretto--Rondo._ The two Sonatas in this Opus, which is dedicated to the Baroness von Braun, are not very interesting. No. 9 has no slow movement. The meditative feeling having, apparently, crept into the _Allegretto_, which should again be taken as two bars in one. The Rondo in E is of great beauty and finish. The middle episode has again the feeling of a hunting song. They appeared for the first time in December, 1799. 10th SONATA, Opus 14, No. 2, in G major. _Allegro--Andante--Scherzo._ The first movement, in Sonata form, is a remarkable example of the growth of a whole movement from a single germ.