This was an inevitable result of Beethoven’s attitude towards music. He felt himself, as we have said, a poet. His music was consciously the expression of almost definite emotions, definite ideals. These by reason of the nature of the man were of heroic proportions, finding an adequate vehicle of expression only in music of broad and varied design. The sonata offered in pianoforte music the possibilities of such expression. The various movements afforded a chance for the play, the contrast and change of moods great in themselves. The length of the work as a whole predicated the widest possible limits. It needed but ideas strong enough to dominate and fill these limits to give to the group an organic life, to establish a close connection, even a fundamental interdependence between the erstwhile independent and separate movements. Such ideas Beethoven did not at once bring to the sonata. Only the last sonatas, beginning with opus 101, are truly so firmly knit or welded that the individual movements are incomplete apart from the whole, that the demarcation between them fades or does not exist at all. In the first sonatas he is clearly preoccupied with expanding the power of expression of the instrument, with technical problems, with problems of form in the separate movements. The organic life which is to mark the last sonatas is not a matter of external structure, of thematic relationship. M. Vincent d’Indy points to the resemblance between the first notes of the first theme of the final movement in opus 13 and the second theme in the first movement of the same sonata, as an indication of the tendency thus early evident in Beethoven to give to the sonata group a consolidation more real than a mere conventionally accepted arrangement. Even earlier instances may be found of such resemblances in the thematic material of the various movements. The theme of the rondo of opus 10, No. 3, may well have come from the second theme of the first movement. Indeed, it is not hard to believe that in the very first of the published sonatas, opus 2, No. 1, Beethoven employed a modification of the opening theme of the first movement as basis for a contrasting episode in the last.