Page:Rolland - Beethoven, tr. Hull, 1927.pdf/170

138 The Scherzo (three-four time) is in C major, and should be taken at a fast rate. It is one of those movements which would have been better written in six-four time by running two bars into one.

The final movement is a grandiose Rondo—six-eight time—in C major, which requires a good technique, especially for the left hand. The second subject is somewhat conventional, but the next episode contains one of those lovely hymn-like tunes in which Beethoven delights. For the third episode, the subject of the first episode is repeated, but here in the tonic key; thus making the form what is known as Modern Rondo or Sonata Rondo, in contrast to the old Rondo in which every episode was different. The Coda is remarkable and is certainly of the virtuoso order. I never play it without thinking of the Coda to Mendelssohn's Wedding March. The sequences at the 15th bar after the Vivacissimo are not easy to finger. D'Albert fingers the upper part, 3, 4, 5, and the lower three notes with the thumb. Larger hands will produce a better effect by fingering the right hand top notes, 4, 5, 5, and the alto, 2, 1, 1. The triple shake near the end is frequently played by an alternation of six-four chords in either hand. There is a remarkable example of an interrupted cadence here, where D becomes D sharp leading to an A major chord. These unexpected rallentandos and calando before the strepitous rush home become a standing characteristic in Beethoven's music.