In some of the other infrequent cases of Beethoven writing a second repeat in a sonata movement – op. 10 no. 2, for example – the goal is humor. We really think the movement is over, and so it’s sort of funny that it isn’t. (MUSIC) That’s not what’s going on in op. 78, though: this repeat is more an act of generosity. Schumann apparently had an endearing habit of sitting at the piano, and playing his favorite themes from his compositions over and over again. I wouldn’t say that’s quite what Beethoven is doing here, but it does feel as if he finds this first movement too beautiful to let go of easily. So, one last important point: this is a two movement sonata. That’s also rare: only a handful of the 32 sonatas are in two movements. And it’s a real meeting of opposites, the cantabile beauty of the first movement answered by absurdity in the second. (MUSIC) One thing Beethoven loved to do is follow something heartfelt with something silly: it’s almost like he was embarrassed to appear too earnest. One notorious example of this is the Archduke Trio, whose slow movement, (MUSIC) comes to an otherworldly end, only to be interrupted by broad comedy. (MUSIC) Opus 78 is a less extreme example of this, because its first movement is really more warm than profound. But still, the opening of the second movement, with its bizarre first chord (MUSIC), and its roadrunner-style scampers up and down the keyboard, (MUSIC) it acts as a real thumb in the nose after the humanity of the first movement. That’s Beethoven: the sacred and the profane, all in one package. So there it is, the cliff notes version of op. 78. It is a modest work, in length and in scope, but it remains very special, and is not short on either innovation or inspiration. And after the relentless ASPIRATION of the Waldstein and the Appassionata, it is a real breath of fresh air.