ure by which this form may always be recognized is
that the Exposition closes with a _definite return_ to the first
theme--thus emphasizing the Rondo aspect--instead of with an expanded
cadence based upon the second theme. As we have stated before (see
Chapter IX), many of Beethoven's Finales are in this mixed form, clear
examples of which may be found in the last movements of the Fourth,
Eighth and Twelfth Sonatas. The Finale of the Twelfth Sonata has been
included in the Supplement in order to make this important form
familiar to the student. To return now to the Finale of the sonata we
are studying. Its first two portions correspond exactly to the usual
practice in the Rondo-Sonata form just explained; _i.e._, we find in
the Exposition a first theme, a modulatory transition, a second theme
(beginning in measure 17) and a definite repetition of the first
theme, in measures 25-32. Then, after two measures of bold modulation,
begins the middle, episodical passage which, closing with a whimsical
cadenza-like passage, leads back to the beginning of the third part.
After a complete, slightly varied appearance of the first theme,
Beethoven does not repeat the second theme, as we should expect, but
allows his fancy to indulge in a series of brilliant passages,
exciting modulations and dynamic contrasts. All this freedom is held
together by insistence on the fundamental rhythmic motive (measures
72-83). A final embellished statement of the first theme ushers in the
fiery Coda, in measure 92, which ends with a long running passage;
beneath, we hear reminiscences of the main theme. It is often stated
that Beethoven's Sonatas are lacking in pianistic effect, and it is
true that his pianoforte works do not bring out the possibilities of
color and sonority as we find them, for example, in Chopin and
Debussy--the orchestra and the string-quartet being indeed his
favorite media of expression. Yet during his entire early career
Beethoven was famous as a performer and improviser on the pianoforte
and some, at any rate, of his deepest thoughts have been confided to
that instrument. That he was not at all insensible to the beauty of
pianistic effect for its own sake is shown by the syncopated, shadowy
chords in measures 101-105, the whole justification for which lies in
their enchanting sound.[149]

[Footnote 149: For a very clear tabular view of the structure of this
Sonata see d'Indy's _Cours de Composition Musicale_, Book II, p. 332.