OK, I don’t want to exhaust you into indifference, so I think it’s time to skip ahead. There is plenty more detail worth exploring in the development, but it mostly falls into the categories we’ve already discussed. And the recapitulation proceeds as one might expect, from the moment of return, right down to the closing theme. But because the whole sonata allegro has been so remarkably terse and so resistant to relaxation or resolution, it's perhaps inevitable that the movement needs not just a coda, but a coda that is significantly longer than the exposition, development or recapitulation. In fact, it rivals the introduction in length, making this an altogether almost gimpy movement: the additions to the structure – the introduction and the coda – being longer than the essential bits. So here is that coda. (MUSIC) As you can hear, the coda is absolutely dominated by the "Le-be-wohl" motive. First it features as a conversation between two voices, in harmonic flux. (MUSIC) And then, at last, the resolution. (MUSIC) This is a highly significant moment in the piece, because after that point, in spite of there being a fair bit of music left, there are basically NO events --- harmonically, it is really just I-V-I-V, literally dozens of times. And what is the last thing to happen before we get into that resolved, peaceful, coda state? One final B-natural-B flat confrontation. (MUSIC) Beethoven gave it a special fingering the first time around; this time, lest we miss it, the B gets a sforzando. (MUSIC) That note – that interval – is the movement’s main "problem", once it is sorted, we're left in harmonic peace. But in case the peace seems TOO contented, Beethoven ends the movement with an extreme separation of the hands, a real premonition of the late period. (MUSIC) It’s one of his shorthands for yearning, and it ensures that to the very end, this movement conveys the poignant sense of farewell: that in spite of the major key and the speed, it never turns to euphoria – that is yet to come.