Note 21 — Chapter VII

The key of the work is given by the composer as D minor. The first movement alone is in the nominal key. The second (in B flat) is in the submediant, the last in the tonic major. The old manner in church music, that Bach often used, of closing a minor tonality with a major chord, was probably due to a regard for the mood of the congregation. An extension of this tradition is frequent in a long coda in the major. But this is quite different in kind from a plan where all of the last movement is in insistent major. We know that it is quite possible to begin a work at some distance from the main key, leading to it by tortuous path of modulation; though there is no reason why we may not question the composer's own inscription, the controlling point is really the whole tonal scheme. Here the key of the second movement is built on a design in minor,—would have less reason in the major. For it rests on a degree that does not exist in the tonic major. To be sure, Beethoven did invent the change to a lowered submediant in a succeeding movement. And, of course, the final turn to the tonic major is virtually as great a license.