What was thus given in the Waldstein was deepened and unified in the Appassionata (Op. 57). The uniform colouring of the Pathétique is here deepened by hints taken from the concerto. A sublime and rhythmical theme, based upon the simplest harmony, a solemn unison, dominates the first movement. The second theme, lyrical as it appears, is really only fashioned out of the first. As the movement progresses, we seem to hear mysterious winds, stormy seas, convulsions of nature. A cadenza, straight from the heart, leads to the most colossal _stretto_ ever written: a wild upheaving, a sudden down-sinking and extinction. Its spiritual connection with the choral-like andante con moto is obvious. The note of aspiration is heard throughout, first by pauses, then by a clearer and clearer expression in those deeply-felt variations, which finally repeat their theme. The despair of the final movement is the last act--a giant melody, uttered in piercing cries, sinking down panting in the middle, and at the end breaking out into Bacchanalian revelry, in which laughter and ruin are inextricably mingled. This was the most comprehensive tragic picture ever drawn by Beethoven on the piano; and it has therefore remained a unique composition. His works tell us that he outgrew the epoch in which misery is enjoyed. His tragic art leads us beyond despair not to Nirvana, but to the Elysian fields. Hymns of joy sound around him. Strong joy, Dionysian strength, was the aim of this Faust. What he once depicted in the wonderful monologue of Op. 27, 1, becomes his life. In the Elysian Fields the fugue of adolescence returns to him, giving him repose and safety. In it he allows the tragedy of Op. 106 to tower heavenwards. Or, ethereal, world-dissolving glories shine around him--these are the bright, cheerful phrases of the E major or A flat major Sonatas, in which they now give the theme, now the figuration, or in the scherzo, grow up in flowery profusion. Into this serenity he allows the tragedy of the last Sonata (Op. 111) to pass at last. After a movement of wild outcry come the simply resigned variations, which finally mount from dull earthly devotion to angelic harmonies, to end in the glitter of their smile, in the bright sphere of their unearthliness. [Illustration: From Beethoven’s A flat major Sonata, Op. 26. Royal Musikbibliothek.] To understand the joyous Beethoven of later years we must remember the capricious Beethoven of youth. A strong leaven of cheerfulness lay in him, a healthy will, which knew how to be humorous.