♫ So, that is the opening theme area. The next section would have to be described as a bridge towards the second theme, but because the proportions of this movement are so huge, it is in itself a substantial section, and tremendously emotionally powerful. With this bridge, the una corda comes off, and with it, the layer of reserve goes away. The chorale texture of the opening gives way to a vocal line which moves out of the middle register and into the upper reaches of the piano. The anuish, barely held in check at the outset of the movement, is now right on the surface. ♫ The quietness and simplicity of the opening masked not only the depth of feeling of this movement, but its proportions. But now, with this cry of pain, the epic scope of this movement begins to become clear. Continuing in this same vein – hugely pained, hugely defiant – the bridge eventually moves us into the secondary key of D Major. Unlike those G Major mirages, a REAL major. A true, and desperately needed, respite. ♫ For me, the very greatest aspect of this movement – among many great aspects – is what happens at these moments when the music alights on a major key. The tenderness and attempt at consolation is enormous, and as we shall see, ultimately becomes overwhelming. So, now in D Major, we have our second theme. ♫ Those falling fourths, ♫ to me have always sounded like a real premonition of the second movement of Op. 111, ♫ written some years later, his true farewell to the piano sonata. Even here, in a very different context, there is already some sort of farewell feeling contained within them… With great regret, I am now going to move ahead a bit. This is so difficult: the entire second theme area is magnificent, with this quiet glow eventually traded for music that burns hotter – but I HAVE to pass over some of it. If I gave every corner of this movement the attention that it deserves, this lecture would be eight hours long! So instead, I will now skip ahead to the closing theme – of course, being the largest possible version of a sonata form, this movement has a closing theme. When we settled into the D major of the second theme, ♫ it was already a moment of great tenderness. But when we settle – really settle – into the D Major of the closing theme, the tenderness has reached impossible levels. ♫ It's often said that people who are very emotionally stable, who do not experience extreme lows, also do not know the greatest highs. A safer, but undeniably more muted way to live. This moment: it is not a high, but it is a moment of purest beauty and consolation. And it is made possible by the utter agony that precedes it.