of the movements of his sonatas. Codas are to be found in the
sonatas both of Haydn and Mozart, but not introductory movements; the
idea of the latter, however, did not originate with Beethoven. The
Grave which opens the "Pathetique" (Op. 13) does not merely throw the
listener into the right mood for the Allegro, but the opening phrase--

[Music illustration]

is afterwards made use of in the development section--

[Music illustration]

and, later on, it occurs in double augmentation.

The _maestoso_ which ushers in the Allegro of the last sonata contains
foreshadowings which are better felt than explained.

At times the codas of Haydn are interesting,--as, for example, the one
at the end of the first movement of his "Genziger" Sonata in E
flat,--yet they do not present the thematic material in any new or
striking light. With Beethoven it is different. In the Sonata in E
flat (Op. 7) not only is there contrapuntal working, but the principal
theme, just at the close, is, as it were, rounded off, completed.
Similar treatment may be seen in the first movement of the Sonata in D
(Op. 10, No. 3) (here the effect is intensified by contrary motion);
also in the Allegro of Op. 13, and other sonatas; the opening movement
of Op. 57 offers a striking illustration.

The coda to the first movement of the "Waldstein" Sonata (Op. 53) is
on a most elaborate scale: it is almost as long as the development
section. In the latter, only fragments of the principal theme had been
worked, but in the coda it appears in complete form; fierce chords
seem to retard its progress, and a sinking, syncopated figure is
opposed to it, counteracting its rising, expanding nature. But it
works its way onward and upward, until, as if exhausted by the effort,
two descending scales lead to a quiet delivery of the second theme,
which had not been heard during the development section. Then
principal theme is given for the last time; it has overcome all
obstacles, and proclaims its victory in loud and powerful chords. The
Presto which closes the "Appassionata" (Op. 57) is one of Beethoven's
grandest codas, and all the more wonderful in that it follows a
movement of intense storm and stress. It is a coda, not merely to the
last movement, but to the whole work: it recalls the first, as well as
the third movement. The coda of the first movement of the C minor
Symphony displays similar intensity; there, however, we have an
expression of strong will; here, on