The work opens in medias res with two strong chords, the chief subject entering on the cellos.
There is some lovely responsive work between the wood-wind and the string bands for the second subject. The development is masterly and embraces a wonderful new subject, first entering on the oboes in the strange key of E minor. The recapitulation is approached in a marvellous way—the climax of the development being reached with a chord in C flat, the echoing reflections of which gradually die away until they reach a mere shimmering of violins, into which is suddenly thrown an unexpected entrance of the horn with the chief theme in the tonic key. Was it a slip? Of course not. Rather a stroke of genius. The movement has an immense coda, which with Beethoven at this period amounts to a second development.
The Funeral March is one of the grandest things in music. It is a pageant of a great world tribulation rather than an elegy for Napoleon, who was certainly not dead at that time. More probably Beethoven's mind was occupied with the
