Although the designation _Sonata_ persists with Beethoven right along throughout all his periods, yet in this last sonata we have left the first ones completely out of sight. The name must be taken merely in its general sense of a piece of high aims; or even in its literal sense, the Italian word meaning simply _to play_. This Sonata, which was dedicated to the Archduke Rudolph, is practically a Prelude and Fugue, with an Air and Variations. The introduction contains two themes, a leonine, stormy one and a singing phrase. The Fugue opens like a veritable thunder-storm. There are short phrases in the major which answer to the second subject, a brief snatch of two celestial bars, and the agitated atmosphere again unfolds itself. This second subject, which is a mere phrase, is repeated in the last portion of the Fugue in the tonic major, which brings the Fugue into line with the Sonata form proper. The beauty of the Coda has not been surpassed by Brahms in his sublimest moments. After the storm, a calm. Beethoven concludes his world contribution of Sonatas with an air of celestial happiness, varied in the most lovely manner possible. "A voice from above," someone has called it. The variations lap round it tenderly like the waves caressing the sands on a beautiful calm day. The first variation gently stirs the rhythm of the theme. The second doubles the movement, and the third redoubles, and yet the peaceful calm is not disturbed. Into the _Coda_ steals one of those beautiful pensive movements in the minor key. This emerges into the return of the theme, scintillating with heavenly radiance. Thus Beethoven closes his Sonatas in a heavenly peace. FOOTNOTES: [89] Beethoven could not endure the foreign word _pianoforte_. THE SONATAS FOR VIOLIN AND PIANOFORTE THE SONATAS FOR VIOLIN AND PIANOFORTE 1st SONATA, Opus 12, No. 1, in D. _Allegro con brio--Tema con Variazioni--Rondo._ This is the first of a set of three Sonatas published in 1799, and dedicated to F. A. Salieri. It is noteworthy that it was a favourite custom with Beethoven to publish his works in sets of threes; thus, Opus 1, Three Trios for Pianoforte, Violin and Cello; Opus 2, Three Sonatas for Pianoforte; Opus 9, Three Trios for Strings; Opus 10, Three Sonatas for Pianoforte; Opus 30, Three Sonatas for Pianoforte and Violin; Opus 31, Three Sonatas for Pianoforte; Opus 59, Three Quartets for Strings (dedicated to Prince Rasumovsky); and the Opus 12. No. 1 of this Opus is a vivacious work of no great depth, and the phraseology is in the Mozartian manner. The theme is a 16-bar phrase, given out by the piano and repeated on the violin in two sections. The variations are four in number, the third being in the minor, and there is a short Coda. The Rondo is on modern lines approximating to Sonata form. 2nd SONATA, Opus 12, No. 2, in A.