Beethoven added important introductions or codas, or even both, to some of the movements of his sonatas.  Codas are to be found in the sonatas both of Haydn and Mozart, but not introductory movements; the idea of the latter, however, did not originate with Beethoven.  The Grave which opens the “Pathetique” (Op. 13) does not merely throw the listener into the right mood for the Allegro, but the opening phrase—­

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is afterwards made use of in the development section—­

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and, later on, it occurs in double augmentation.

The maestoso which ushers in the Allegro of the last sonata contains foreshadowings which are better felt than explained.

At times the codas of Haydn are interesting,—­as, for example, the one at the end of the first movement of his “Genziger” Sonata in E flat,—­yet they do not present the thematic material in any new or striking light.  With Beethoven it is different.  In the Sonata in E flat (Op. 7) not only is there contrapuntal working, but the principal theme, just at the close, is, as it were, rounded off, completed.  Similar treatment may be seen in the first movement of the Sonata in D (Op. 10, No. 3) (here the effect is intensified by contrary motion); also in the Allegro of Op. 13, and other sonatas; the opening movement of Op. 57 offers a striking illustration.

The coda to the first movement of the “Waldstein” Sonata (Op. 53) is on a most elaborate scale:  it is almost as long as the development section.  In the latter, only fragments of the principal theme had been worked, but in the coda it appears in complete form; fierce chords seem to retard its progress, and a sinking, syncopated figure is opposed to it, counteracting its rising, expanding nature.  But it works its way onward and upward, until, as if exhausted by the effort, two descending scales lead to a quiet delivery of the second theme, which had not been heard during the development section.  Then principal theme is given for the last time; it has overcome all obstacles, and proclaims its victory in loud and powerful chords.  The Presto which closes the “Appassionata” (Op. 57) is one of Beethoven’s grandest codas, and all the more wonderful in that it follows a movement of intense storm and stress.  It is a coda, not merely to the last movement, but to the whole work:  it recalls the first, as well as the third movement.  The coda of the first movement of the C minor Symphony displays similar intensity; there, however, we have an expression of strong will; here, one of savage despair.  The coda of the first movement of the “Adieux” Sonata (Op. 81A) is another memorable ending.  The farewell notes sound sad in the opening Adagio, while in the Allegro which follows they are again plaintive, or else agitated.  But in the coda, though still sad, they express a certain tenderness, and the lingering of friends loth to part.  Whatever the special meaning of the music, the point which we here wish to emphasise is, that the coda presents thematic material, already amply developed, in quite a new light.