![]() ![]() A codetta, with ideas from the opening allegro, closes the section. Theme 3 has modulated to the mediant, E♭ major, and features an Alberti-type figuration for the bass with tremolo. This theme is more lyrical and makes use of grace notes and crossed hands. Beethoven then makes use of unorthodox mode mixture, as he presents the second theme in E♭ minor rather than its customary parallel major. Theme 1 features an aggressive rocket theme covering two octaves, accompanied with constant tremolo octaves in the left hand. The exposition, marked Allegro di molto con brio, is in 2 time (alla breve) in the home key of C minor and features three themes. ![]() It begins with a slow introductory theme, marked Grave. It is known that Beethoven was familiar with the works of Bach, studying The Well-Tempered Clavier as a youth and returning to his predecessor's compositional styles later in life. Furthermore, the first four notes of the Partita's Andante (G-C-D-Eb, prominently repeated throughout the work) are found in the Pathétique as the first notes of important themes – first in the hand-crossing second subject of its first movement (initially transposed), then in the main theme of the Rondo. Both works open with a declamatory fanfare marked Grave, sharing a distinct combination of dotted rhythms, melodic contour, and texture. Close similarities have also been noted with Bach's Partita no. The second movement, "Adagio cantabile", especially, makes use of a theme remarkably similar to one in the spacious second movement of Mozart's sonata. 457, since both compositions are in C minor and have three very similar movements. Prominent musicologists debate whether or not the Pathétique may have been inspired by Mozart's piano sonata K. ![]()
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