LDV78.9

24 BEETHOVEN Are you suggesting that the quality of the melody overshadows the richness of the development? I am indeed. In Beethoven, when melody is an important presence, the development is less interesting. Take for example the finales of the Sonata op.7 and the Sonata op.22, or the Adagio of the Pathétique where there is almost no development. On the other hand, Beethoven is truly brilliant in the introductory motif of the ‘Appassionata’ Sonata or even the ‘little’ Sonata op.10 no.2. In my opinion, the ‘Appassionata’ is one of the most narrative and tragic sonatas in the cycle, if not the most Shakespearean of them all. I would even say, with a hint of provocation, that it never fails to make its effect because the contrasts and the message are so powerful.