So, I mentioned that the three movements of this sonata are bound by their compact developments, and that is certainly the case here. Here is the end of the exposition. (MUSIC) And here, then, is the development. (MUSIC) I’m kidding. Sort of. You probably wouldn’t call this movement a sonata form, and therefore that...note....is not a development. But everything that precedes it certainly seems like an exposition --- contrasting themes, the second one on the dominant. And what comes after that...note...behaves just like a recapitulation. The second theme gets restored to the tonic, where the music then remains. So while you would probably say that this movement is in four part form, sometimes called slow movement form – ABAB – the fact that it otherwise functions like a sonata form gives that brusque chord (MUSIC) -- a humorous edge: It's as if Beethoven knows he should write a development, but can’t be bothered to do so. The second half of the movement – the latter AB, the would-be recapitulation – is by the book, so there’s no great need to get into it. But this movement does have a lengthy and gorgeous coda, which certainly deserves to be noticed. (MUSIC) Here, again, I think that the Pathetique is an interesting point of comparison. The coda of the slow movement of the Pathetique was brief and, above all, simple. (MUSIC) It’s very beautiful, but it does nothing to alter the basic meaning of the movement, which was appropriate, given that the movement has already been enriched by two contrasting episodes, (MUSIC) and given that the first movement was such a psychodrama. Here in op. 10 no. 1, though, the slow movement’s coda has quite an impact. When we first hear the theme, at the beginning of the movement, we get four bars of it, (MUSIC) before Beethoven moves on to other business. (MUSIC) But this is reiterated precisely in the second half of the moment. In the coda, however, we get, for the first time, what feels like the natural, logical continuation of those opening four bars, expanding the theme and, in the process, deepening it further. (MUSIC) Those four bars become 12! If this movement was spacious before, now it is triply so. And now that the theme has been...fulfilled... we are ready for a Pathetique-style coda: simple, calm, just a very gentle dialogue between V and I, as the movement dies away. (MUSIC) I don’t know that I would say that this is one of Beethoven’s greatest slow movements-- there’s so much competition! – but it is really the only time in the early period that a slow movement so thoroughly formed the heart of the work. The closest analogue I can think of is Op. 31 no. 1, which has a similarly operatic slow movement. But its outer movements are more substantial than op. 10 no. 1's, and at any rate, it’s a much more comic piece than this. I’ll come back to the word oasis: it is an island of civility, in an uncivil world.