The famous “Pathétique” Sonata shows a kinship with some of Mozart’s piano works in C minor, especially the Fantasy K. 475 and Sonata K. 457. Yet Beethoven’s treatment of the C-minor pathos departs fundamentally from that of his predecessor: The tragic resignation characteristic of Mozart is supplanted here by an attitude of resistance, even defiance. In the introductory Grave of the first movement, this resistance to suffering is implied in the contrast between an aspiring, upward melodic unfolding and the leaden weight of the C-minor tonality, with an emphasis on dissonant diminished-seventh chords. The rising contour and dissonances of the Grave are then transformed into forceful accents in the turbulent main theme of the ensuing Allegro di molto e con brio. Beethoven later recalls the Grave to preface the development and coda, underscoring the juxtaposition of tempos as a germinal idea of the movement.

The Adagio cantabile is an oasis of hymnic serenity, in Beethoven’s favorite key for lyricism within a C-minor context: A-flat major. Varied appearances of the broad, lyrical theme are set into relief by two episodes touching on minor keys—passages displaying subtle motivic links to the outer movements of the sonata.

The Rondo finale brings together elements from each of the proceeding movements. The head of its main theme is derived from the beginning of the second subject in the Allegro di molto e con brio. A relation between the Rondo and the Adagio cantabile surfaces in two passages. On both occasions, the contemplative aura of the Adagio is recalled in A-flat major before a dramatic resumption of the strife-ridden music sweeps away the fragile, reflective mood.

Beethoven reserves a gesture of telling finality for the very last bar, as the rapid falling scale that had framed each section of the rondo design is resolved, for the first and only time, into the sonority of C minor. The trick of delaying the resolution until the close was a specialty of Haydn, but never before Beethoven did it assume such dramatic force and significance.

—William Kinderman