The slow initial movement establishes this extreme sense of pathos. The grim persistence of this bass guitar three notes repeated over and over, gives a feeling of emptiness and of course stasis. It appears inevitable, thick, nearly effortless. It boils, and in its own constancy it requires attention to the silence at the tune.
In comparison were his objective, then Beethoven is at his successful-the 3 moves of this”Moonlight” sonata could hardly disagree more. What’s expressed evokes the feeling of something individual, a feeling of distress, or toil, possibly, against some nebulous shadow.
Arising out of it a single, tentative voice maintains its own existence, like requesting a question-the silence which follows though merely reinforces the feeling of emptiness. The voice appears to talk of solitude and confinement, of bleakness and regret, but sometimes a soft, optimistic glimmer surfaces, like longing for a lot more, or even better, or even different. Since the motion closes, nevertheless, that hope appears to concede, overwhelmed and overwhelmed with a feeling of finality.
The next motion, by contrast, is a lot more contented. It seems open and liberated, nearly flighty, and owns a sort of sing-song quality. Additionally, unlike the first, the next motion keeps a feeling of mobility-with something which may be described as a ambling gait-and appears to have a very clear idea of direction or purpose.
A clear reaction to the confusion of this next phrase, the motif in the very first phrase re-turns from the next, rear to the tonic, decided and unrelenting. Yet now it succeeds to climb higher than at the very first phrase, as though during intimacy, the movement is becoming harder. Twice it reaches on an invisible ceiling and resets, but on its own third ascent, it fails to achieve its own peak-instead of the anticipated “plunks” the tune falters, tumbling abruptly down, by jump and measure back to where it started its rise.