ain Theme sections have the same melody, but the accompanying parts are varied. Although Beethoven still uses the tonic-dominant relationships to start and end his first section, mm. 1-16, even ending his first theme with a perfect authentic cadence the composer begins to use keys with third relationships. The main theme is in the key of A flat, however the second theme is in the relative minor key of F minor. MM 17-23 are very pivotal in nature and by mm. 23 Beethoven has modulated to the dominant key of E flat major. The remainder of the piece gives the feeling of A flat major, although section c, mm. 36-50. contain many modulations. The coda begins in mm 66-4 through the end and contains a series of V - I cadences. The Adagio of Sonate Pathetique has been compared having a similar melodic structure and affinity of theme to the Adagio of the Ninth Symphony written during the last period almost twenty-five years later. This Adagio movement is in the singing style and demands great emotion from the performer. Although this particular movement was written during Beethovens first period, the great emotion and contemplation, the peace and introspection that characterized his third period seem to be present (McLeish pg. 58-76). Beethoven had a powerful personality that awed everyone. His high-voltage personality coupled with his high-voltage genius, Beethoven was able to live his life on his own terms in everything except his deafness. He was only 5 feet, 4 inches, broad, with a large head, lots of hair, protruding-teeth, a small nose and a bad habit of spitting. He was clumsy, sullen and suspicious, touchy, forgetful, and prone to rages of temper. As a bachelor, he was incredibly messy and had no servants because they would not put up with him (Schonberg, pg. 110-111). In 1802 Beethoven was told his deafness was incurable. This knowledge caused a violent change in his character which brought about a big change in his music. The boisterousn...
