the smallest idea. There is a beautiful hymn-like second subject. Characteristically enough, just before finishing this bubbling movement joyfully, the composer falls into a deep reverie, but only to brush it aside almost impatiently by returning to the original idea.
6th Sonata, Opus 10, No. 2, in F major.
Allegro—Allegretto—Presto.
The tenth Opus, which first appeared on September 26th, 1798, contains three Sonatas, all dedicated to the Countess von Brovne. The Sonata is in three movements—the first a movement of development, the second a Scherzo, and the third a playful Presto. The whole Sonata is cast in happy mood. The mysterious and somewhat eerie feeling of the Minuet being completely dispelled by the happiness of the Trio (which , curiously, enough, Brahms seems to have written over again in his Scherzo in E flat minor). The mood at the first part of this Scherzo has a close relationship with the Scherzo in the Eroica Symphony.
There are several noteworthy points about the development of the first movement. It opens with a treatment of the last three notes of the exposition in capricious manner. The development closes, too, with this idea, but it also contains a completely new subject in D minor. The prevalence of this tonality brings in the return section irregularly in D major. The Presto is one of those playful move-
