The Andante is an air with variations. The form of this is really ternary, although if the second part be repeated, it will throw the theme into five sections, A, B, A, B, A. The first variation places the air in the tenor, the second divides the harmony rhythmically, the third breaks up the harmony into semiquavers. Purists hold that this movement is wrongly barred throughout, the first beat coming where the third now is. In the last sprightly movement, the _Scherzo_ and _Finale_ seem to have run into one. The only other examples of Beethoven's use of the designation _Scherzo_ for a movement not in Scherzo and Trio form are in the pianoforte sonata Opus 31 No. 3, and in the string quartet in C minor. 11th SONATA, Opus 22, in B flat. _Allegro con brio--Adagio con molta espressione--Minuetto--Rondo._ Dedicated to the Countess von Brovne. This Sonata is the finest since the Opus 10, No. 3 in D. It is not so deep in feeling as some of the preceding pieces, and the composer's preoccupation with development somewhat duly prolongs the first movement. It is full, however, of characteristic vigour for its own sake, and the _Adagio_, long-drawn as it is, possess a great charm. This long-drawn meditative piece is the only case in the Sonatas of a slow movement having all the elements of the true Sonata forms--exposition and development, recapitulation, coda. If the _Adagio_ breathes of the open country, the Minuet savours of the salon. In this rather old-fashioned Minuet, the _Trio_ is styled "Minore." The Rondo with four refrains, the last two varied. 12th SONATA, Op. 26, in A flat. _Andante con variazioni--Scherzo--Marcia funèbre--Rondo._ Dedicated to the Prince Carl von Lichnovsky. This Sonata was announced for the first time on March 3rd, 1802. Two of the movements are in slow time--an Air with Variations, and a "Funeral March on the death of a hero." The March is said to have been written as a set-off to the popular one of that day in Paer's opera, _Achilles_. It is not a lamentation, but rather a tragic elegiac picture set in an impressive frame. One feels the throb of brass, the blare of trumpets, the roll of muffled drums, the impressive pageantry of death. The opening _Andante_ is beautiful, and in the variations the theme breathes as it were through a thin lovely veil. The technique looks backwards rather than forwards, and the movement ends with a calm phrase. The final Rondo bubbles with life ceaselessly until it disappears in a faint whisper. 13th SONATA, Opus 27, No. 1, in E flat. _Sonata quasi una Fantasia._ _Andante--Allegro--Andante--Allegro molto e vivace--Adagio con espressione--Allegro vivace._ Dedicated to Princess Lichtenstein.