Page:Rolland - Beethoven, tr. Hull, 1927.pdf/191

 dications (Italian and German), the other example being Les Adieux Sonata, Opus 81. On one occasion, in 1815, when the Englishman Neate was discussing the meaning of music with Beet- hoven, the composer admitted somewhat vaguely that he "never worked without a picture in his mind." Be this as it may, the composer was always greatly enraged when other people at- tempted to fix pictures to his music, as did the publisher who gave the title "La chasse" to the unchristened overture, Op. 115. The first movement has a tender wistful charm and romantic feeling; it is the very poetry of sound. The first subject with its three themes is square-cut, exactly 24 bars in length, ending with a perfect cadence in the tonic key. The development is closely knit, and the overlapping phrases with their diminuation and augmentation, which bring in the return of the first subject, are as wonderful as they are convincing.

Schindler relates that Beethoven, referring to these two movements, said: "The first might represent 'Combat between Heart and Head,' and the second, 'Dialogue with the beloved one.'" Be this as it may, the Rondo, judging from the interior evidence, was written first. In many of his sonatas the only connection apparently aimed at between the various movements is that of right contrast and suitable key-relationship.