Page:Rolland - Beethoven, tr. Hull, 1927.pdf/196

 airs ever penned by Beethoven, the Arioso Dolente. This runs into the Fugue, which is here used not so much as a movement in itself, but a concentration of the chief expression of the whole piece. Vincent d’Indy compares the expression here with that of the 15th String Quartet, Opus 132, written four years later, which contains the Song of gratitude to God for his goodness. In this Sonata, we have as it were a terrible combat against misfortune, then a return to life and hope, not in a calm pious prayer, but in an exultant hymn of joy triumphant.

The subject of the final Fugue is a simplification of the initial idea of the first movement. This opening movement is penetrated with a great religious calm. The Scherzo is somewhat puzzling, but appears to be a somewhat sorrowful frolic, a rather bitter amusement. In the Fugue, suffering disappears; even fantastic cleverness comes to the fore with the subject in contrary movement. Little by little life and joy return, and with the reestablishment of the tonic key, the piece triumphs in an enthusiasm of good feeling. The Italian indications to this sonata are fuller and more unusual, and show that Beethoven was aiming at the deepest possible expression. The use of the Una Corda, and the insertion of the Arioso Dolente into the Fugue, show what a struggle Beethoven underwent in the conquest of his feelings.