of this, Beethoven adds a lilting, slightly comic melody; analysts who see the fugue as a multi-movement work consider this section the equivalent of a scherzo. In this interlude, Beethoven introduces the use of trill (hinted at, at the end of the Meno mosso section). The music grows in intensity and shifts into A major, for a new learned fugue. In this fugue, Beethoven puts together three versions of the main subject: (1) the subject in its simple form, but in augmentation (meaning half the speed); (2) the same subject, abbreviated, in retrograde (that is, played backwards); and (3) a variation of the first half of the subject in diminution (that is, double time). Together, they sound like this: Here Beethoven starts to use trills intensely. This adds to the extremely dense texture and rhythmic complexity. Kerman writes of this fugal section, "The piece seems to be in danger of cracking under the tension of its own rhythmic fury." In the second episode of this fugue, Beethoven adds in the triplet figure from the first variation of the first fugue: The trills become more intense. In the third episode, in the dominant key of E major, Beethoven uses a leaping motif that recalls the second subject of the first fugue: The fourth episode returns to the key of A. The cello plays the main subject in a way that harks back to the overtura. More elements of the first fugue return: the syncopation used for the main subject, the tenth leaps from the second subject, the diminuted main subject in the viola. Thematic convergence and coda This leads back to a restatement of the meno mosso e moderato section. This time, though, instead of a silky pianissimo, the fugato is played forte, heavily accented (Beethoven writes on every sixteenth-note group), march-like. Analysts who see the fugue as a variation of sonata-allegro form consider this to be part of the recapitulation section. In this section, Beethoven uses another complex contrapuntal device: the second violin plays the theme, the first violin plays the main subject in a high register, and the viola plays the main subject in inversion – that is, upside down. A series of trills leads back to the home key of B, and a restatement of the scherzo section. There follows a section that analysts have described as "uneasy hesitation" or "puzzling" and "diffused". Fragments of the various subjects