Written at the age of fifty, it seems possible that he poured into these later instrumental movements much that he felt was beyond the vocal forms of the great _Mass in D_ which was occupying his thoughts at this time. The rhapsodic first movement with its light and happy figures, repeatedly broken in upon by the deeply expressive _Adagio_ phrases; the remarkable uncouth Scherzo with the subject in the bass and the angelic variations, one in fugue form, and the other a _tour de force_ with its thrilling pedals, the beatific return of the theme at the end, given this sonata a high place amongst the happiest conceptions of the master. 31st SONATA, Opus 110, in A flat. _Moderato cantabile--Molto allegro--Arioso dolente--Fuga._ The autograph is dated December 25th, 1821, and the work appeared for the first time in August, 1822. Here we find Beethoven in his most exalted mood, and it is significant that whilst the main outlines of the Sonata-form are at the foundation of the piece, he has gone still a step farther in the direction of welding the whole sonata into one piece. The first, the movement of development, is on the usual lines but is handled with great freedom. The second movement is one of those fast pieces, somewhat fantastic, with which Schumann has made us familiar at a later period. A remarkable _recitative_ bridge portion follows which leads into one of the most beautiful airs ever penned by Beethoven, the _Arioso Dolente_. This runs into the Fugue, which is here used not so much as a movement in itself, but a concentration of the chief expression of the whole piece. Vincent d'Indy compares the expression here with that of the 15th String Quartet, Opus 132, written four years later, which contains the Song of gratitude to God for his goodness. In this Sonata, we have as it were a terrible combat against misfortune, then a return to life and hope, not in a calm pious prayer, but in an exultant hymn of joy triumphant. The subject of the final Fugue is a simplification of the initial idea of the first movement. This opening movement is penetrated with a great religious calm. The _Scherzo_ is somewhat puzzling, but appears to be a somewhat sorrowful frolic, a rather bitter amusement. In the Fugue, suffering disappears; even fantastic cleverness comes to the fore with the subject in contrary movement. Little by little life and joy return, and with the re-establishment of the tonic key, the piece triumphs in an enthusiasm of good feeling. The Italian indications to this sonata are fuller and more unusual, and show that Beethoven was aiming at the deepest possible expression. The use of the _Una Corda_, and the insertion of the _Arioso Dolente_ into the Fugue, show what a struggle Beethoven underwent in the conquest of his feelings. 32nd SONATA, Opus 111, in C minor. _Maestoso--Allegro con brio--Arietta._