It will be noted that Beethoven adds to the three traditional sections of the sonata-form an introduction in slow tempo (of which we saw an earlier example in Haydn's "Surprise" Symphony) and a brief coda, based on the main material of the movement, to round out the complete movement satisfactorily. In his later work both of these additional sections came often to figure very prominently, the increased development he gave to them being indeed one of his most important contributions to sonata-form. We shall see in his Fifth Symphony a fine example of his treatment of the coda, which raises it to a dignity equal to that of the other organic sections. The introduction of the Fourth Symphony extends to thirty-eight measures of slow tempo, that of the Seventh Symphony to sixty-two measures, with great variety of treatment.
The general structure of this movement, which is in extended sonata-form, is shown in the following tabular view:
TABULAR VIEW OF STRUCTURE OF FIRST MOVEMENT OF THE PATHÉTIQUE SONATA.
-------------------+---------------------------------------------+---------- Sections. | Themes. | Measures. -------------------+---------------------------------------------+---------- Slow Introduction | | 1-10 -------------------+---------------------------------------------+---------- Exposition (A) | First theme, C minor | 11-27 | Transition, based on first theme | 27-50 Duality of | Second theme, E-flat minor | 51-88 Harmony | Codetta or Conclusion section, E-flat major | 89-134 | Consisting of | | Conclusion-theme I | 89-112 | Conclusion-theme II | 113-120 | Reminiscence of theme I | 121-134 -------------------+---------------------------------------------+---------- Development (B) | Introduction-motive | 135-138 Plurality of | Theme I and Introduction-motive treated | 139-196 Harmony | | -------------------+---------------------------------------------+---------- Recapitulation (A) | First theme, C minor | 197-209 | New transition | 209-222 Unity of | Second theme, F minor | 223-254 Harmony | Codetta, C minor | 255-296 -------------------+---------------------------------------------+---------- Coda | | 297-312 | Consisting of | | Introduction motive | 297-300 | First theme, reminiscence | 301-311 -------------------+---------------------------------------------+----------