Formal Variations:
Andante and Variations. Sonata in G major. Opus 14, No. 2.
Andante, from Sonata Appassionata. Opus 57.
Humoristic Variations and Moods;
Theme and Variations. Opus 26.
Scherzo in C, Sonata in C. Opus 2, No. 3.
Allegretto from "Moonlight Sonata." Opus 27, No. 2.
Scherzo in A-flat, Sonata. Opus 31, No. 2.
Sonata-piece:
Allegro (first movement), from Sonata in G. Opus 14, No. 2.
Allegro (first movement), Sonata in F minor. Opus 2, No. 1.
Sonata-piece, Impassioned;
Introduction and Allegro (first movement), Sonate Pathetique.
Opus 13.

The minuet proper, in the first selection, is a simply expressive
folk-song throughout its first period. It is only at the beginning of
the second period, with the dissonant C-flat, that something different
comes to illustration. The distinction of the mood is further
illustrated in the trio which follows, where the chords by their skips
and their delightful changes afford a most agreeable and charming
contrast with the main subject. (It is upon this trio that Saint-Saens
has written his lovely variations for two pianos, four hands.)

The minuet in D, from the very strong Sonata in D major, opus 10,
affords very strong contrasts before we pass beyond the minuet proper.
The first period (eight measures repeated) is purely lyric and very
lovely. The second period starts out with an imitative bit, quite in
the manner of fugue, one voice after another responding in a vigorous
and spirited manner. When this is completed by the delightful return
of the principal subject, we are led to a trio in the related key of G
major, which is in a totally different style. It goes like a scherzo,
and when it in turn has been completed the main minuet returns with
most agreeable effect. At the end, a short coda. Both these
selections contain much which is not purely lyric, but rather thematic.
This occurs always in the trios, and in the second period of the minuet
in D.

The next selection is the beginning of the beautiful closing movement
of the Sonata, opus 90. This movement takes the place of a slow
movement in this sonata, and it is entirely in lyric style, except
where the imperative need of relief has led to the introduction of less
connected and sustained matter. The melody itself is one of the best
of Beethoven's. The illustration comprises the first thirty-two
measures.

In the next division of selecti