The martial feeling in the first movement seems to have produced a substitute for the _Minuet_ or _Scherzo_ movement. The _trio_ with its prolonged coda is in deep poetic vein. The _Largo_ is permeated with profound feeling and is connected with the _Finale_ by a reminiscence of the first movement. The whole work is entirely happy and presents an untroubled frame of mind. 29th SONATA, Opus 106. _Allegro--Scherzo--Adagio sostenuto--Fugue._ The first two movements were finished in April, 1818; the two last were composed in the summer of that year. The Sonata was ready for publication in March, 1819, but did not appear until September, 1819. It carried the sub-title "Sonata for the Hammerclavier."[89] It is dedicated to the staunch friend and patron, the Archduke Rudolph, and is the longest of all Beethoven's sonatas, being about twice as long as the longest of the others. The first movement (over four hundred bars in length) is evolved from the two little germs contained in the first two bars. There is a long bridge passage in which derivative themes occur before the second subject in three sections. A long development follows and a superb return with a powerful coda. In the three bars preceding the return, all the "A sharps" are usually misprinted "natural." This A sharp should be the enharmonic of the following B flat. The _Scherzo_ is fantastic in the extreme. From the playful mood of the first part it is suddenly plunged into the inexpressible anguish of the minor trio. A short _Presto_ unison phrase of eight bars brushes this aside, a tremor on a minor ninth preceding the happy return of the Scherzo. The _Adagio_ is one of the sublimest things in all music. It certainly reaches heights which transcend the limits of the piano. A remarkable bridge, which changes mood no less than six times, forms a sort of prelude to the final fugue which is drawn from the opening germ of the work. It is a struggle of giants, unbridled in its onslaught. _Fuga a tre voci, con alcune licenze_ Beethoven marked it, and its great licenses and amazing contortions have puzzled many minds. The heavenly interludes, however, transport one into the pure air of the _Sanctus_ of the Mass in D. The similarity of the opening phrases of the _Allegro_, the _Scherzo_ and the _Adagio_, should be noticed. It was by such means that Brahms later on strove to unify the separate movements of his longer forms. 30th SONATA, Opus 109, in E major. _Vivace ma non troppo--Prestissimo--Andante and Variations._ Dedicated to Maximiliana Brentano.