e of savage despair. The coda of
the first movement of the "Adieux" Sonata (Op. 81A) is another
memorable ending. The farewell notes sound sad in the opening Adagio,
while in the Allegro which follows they are again plaintive, or else
agitated. But in the coda, though still sad, they express a certain
tenderness, and the lingering of friends loth to part. Whatever the
special meaning of the music, the point which we here wish to
emphasise is, that the coda presents thematic material, already amply
developed, in quite a new light.

In the matter of structure, Beethoven may be said, in the main, to
have followed Haydn and Mozart, but the effect of his music is,
nevertheless, very different. By overlapping of phrases; by very
moderate use of full closes; by making passages of transition
thoroughly thematic; by affinity and yet strong contrast between his
principal and second themes; by a more organic system of development;
by these and other means Beethoven surpassed his predecessors in power
of continuity, intensity, and unity. Then, again, his conception of
tonality was broader, and his harmonies were more varied; the fuller,
richer tone of the pianoforte of his day influenced the character of
his melodies; while the consequent progress of technique, as
exhibited in the works of some of his immediate predecessors and
contemporaries, enabled him to present his thoughts with greater
variety and more striking effect than was possible to either Haydn or
Mozart.

Once more, Beethoven seemed to be elaborating some central thought;
Haydn and Mozart (with few exceptions), to be deftly weaving together
thoughts so as to obtain pleasing contrasts. In a similar manner, the
first and last movements of a sonata with Beethoven are of kindred
mood, though perhaps of different degree. Haydn and Mozart seem again
to be aiming at contrast; after a dignified opening Allegro and a
soft, graceful slow movement, they frequently wind up with a Finale of
which the chief characteristics are humour, playfulness, and
merriment, so that the listener may part company from them in a
pleasant frame of mind.

We have been comparing the composer, and to his advantage, with Haydn
and Mozart. But the latter, however, sometimes come within near reach
of the former; and had the means at their disposal been similar, they
might possibly have equalled him. And, on the other hand, Beethoven's
inspiration was sometimes at a comparatively low ebb. Speaking
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