It was christened by the Hamburg publisher, Cranz, with the name of "Pastoral Sonata." The autograph is dated 1801, and the work is exceeding happy in mood, the last two movements almost boisterously so, the _Finale_ being a mad gallop home. This Sonata has four movements, and it is most probable that it was written before the two _Fantasia Sonatas_. The first movement opens with a phrase of nine bars over a gentle tapping tonic pedal. It is a splendid specimen of development by elimination and condensation. In the middle portion, just before the recapitulation, the phrase seems almost to disappear into thin air. The _Andante_ in D minor, with its epigrammatic _Trio_ in the tonic major, was once a great favourite with the composer. The _Scherzo_ which despite its title is really a _Minuet_, is one of his happiest, and the Rondo is full of the joy of field and forest. 16th SONATA, Opus 31, No. 1, in G major. _Allegro vivace--Adagio grazioso--Rondo._ This Opus contains three Sonatas--a favourite grouping with the composer. Although No. 1 was published in 1802, this Sonata, so simple in technique, has the feeling of having been conceived much earlier. The _Adagio_, with its elaborate flowery passages of no particular meaning, drops back to the Hummel style, and is developed to a considerable length. The Rondo is bright and sunshiny throughout. 17th SONATA, Opus 31, No. 2, in D minor. _Allegro--Adagio--Allegretto._ One of the most splendid of all Beethoven's Sonatas. The opening movement is full of the most speaking of all Beethoven's sonorous and passionate recitatives. The _Adagio_ is in full binary form. It is very expressive, entirely evolved from a three-note figure, a little Hummelian. The final _Allegretto_ is all spun out from the little four-note germ said to have been suggested to the composer by the cantering of a horse. 18th SONATA, Opus 31, No. 3, in E flat. _Allegro--Scherzo--Minuet and Trio--Presto con fuoco._ In this characteristic work, where we find both a Scherzo and a Minuet, the former in duple time, we again return to four movements. The mood throughout is of unclouded happiness. It is extremely interesting throughout, from the first bar which opens in an original manner with the "added sixth" chord to the Coda which returns to the same idea. The _Scherzo_ is in one of Beethoven's freakish moods, full of capricious turns and fun of all kinds. The third movement is a true Minuet of the olden style, whilst the _Presto_ is one of those cantering movements the germ for which must have been derived from the hunting songs of the people. 19th SONATA, Opus 49, No. 1, in G minor and major. _Andante--Rondo._ This and the following Sonata, although published in 1802, must have been written much earlier; in fact, the theme of the G major Rondo was the original of the Minuet of the _Septet_.