Page:A Dictionary of Music and Musicians vol 3.djvu/542

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530

��SKETCHES.

��The Key is afterwards changed, and the idea assumes a familiar form

���The Movement now gradually developes into the well-known Andante in F, known as Op. 35, though, as Hies tells us, originally included in the plan of the Sonata we are studying :

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��Still, this passage does not satisfy the Com- poser, who tries it over and over again ; always, however, retaining the lovely Modulation to the key of Db, and gradually bringing it into the form in which it was eventually printed.

We next find a suggestion for the Episode inBb,

���and, lastly, the germ of the Coda.

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���The alternation of these Sketches with those for the first and last Movements of the Sonata, coupled with the absence of all trace of a design for the mtermediate Movement which now forms part of it, sufficiently corroborates Bies's assertion that the publication of the ' Andante in F,' in a separate form, was an afterthought ; while the eminent fitness of this beautiful Movement for the position it was originally intended to fill, tempts us to regret that the ' Waldstein Sonata' should ever Lave been given to the world without it. But the whole work suffered changes of the

��SKETCHES.

most momentous character. The Rondo was ori- ginally sketched in Triple Time, though that idea was soon abandoned, in favour of one which, after several trials, more clearly foreshadowed the present Movement ; not, however, without long-continued hesitation between a plain and a syncopated form of the principal Subject. Page 139.

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���Page 139.

�� ��The two following Sketches for the middle section of the Movement, are chiefly remarkable for the change suggested in the second memor- andum. Page 136.

���The passage of Triplets, which afterwards forms so important a feature of the Movement, is first suggested at p. 137, and its future de- velopment indicated by the word Triolen on p.

139- Page 137.

���Page 139.

��Triolen

Then follows the introduction of a new idea Sva

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��Finally, on p. 138, we find the first rough draft of the Prestissimo with which the work concludes or, rather, the embryo which afterwards de- veloped itself into that fiery peroration.

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