This is practically a Sonatina, and calls for little mention. Some authorities regard it as an unfinished sketch, whilst others ascribe it to a considerably earlier date although it was clearly completed in 1809. The term _Tedesca_ means "in the German style," and has reference to the country dance, _Ländler_. Beethoven employs the term only twice in his published works--here and in the fifth movement of the B flat quartet, Opus 130, where he describes the movement in one of the sketches as _Allemande Allegro_. In a Bagatelle, No. 3 of Opus 119, he uses the term in French, _A l'allemande_. The first movement gives some good practice in crossing the hands. The second movement might easily be mistaken for a gondolier's song by Mendelssohn. The third movement is a lively _Con Moto_ in simple Rondo form. 26th SONATA, Opus 81a, in E flat. _Adagio--Allegro--Andante espressivo--Vivacissimamente._ Styled by Beethoven himself, _Les adieux, l'absence, et la retour_. (The parting, the absence, and the return). As such it is the finest piece of programme music ever written. It is dedicated to his friend and patron, the Archduke Rudolph, but it is not known definitely that it was connected with the absence of the Archduke himself. The general feeling seems to suggest a more tender attachment. The music is Beethoven at his very best, and is truly representative of his mature period. The interrelation of the whole of the music, its close affinity with the opening musical motto of three notes, under which Beethoven wrote _Lebe-wohl_ (Fare thee well) is astounding. Whether written in clear notes or obscured subtly, this leading motive lies at the bottom of every phrase. It is the generating idea, the essence of the whole Sonata. Although we have styled it programme music, it would be the greatest mistake, however, to regard it as something pictorial and definite. The idea is only used as the generating impulse of each of the three chief movements, and the work loses no whit (perhaps, even gains) by being heard as a piece of absolute music. Those interested in musical psychology will find it, however, a most interesting study to trace the derivation of the various phrases of the opening _Allegro_ of the _Andante_ (see bass chords), and even of the _Finale_ to one of the two tiny cellules found in the first three bars of the introduction. The movements are all in Sonata form. The _Andante_ has no development section and runs into the _Finale_ without break. 27th SONATA, Opus 90, in E. _Con vivacità a sempre con sentimento ed espressione--Non troppo presto (Rondo)._