prominent use of off-beat accents, in "rhythmic sharpness and thematic brevity". The trio's character was described by a reviewer as "gruff humour". Adagio cantabile – Allegro vivace The finale begins with a slow introduction in time, marked Adagio cantabile (slow and singing), in the dominant key, E major. A slow introduction appears also in other Beethoven works of the period, such as the Waldstein Sonata. Here, it "creates a wholly individual atmosphere, one that is broadly lyrical and tinged with a sort of dignified sorrow", as Mangum noted. The short section has been described as sublime and "emotionally charged". The finale, in alla breve time and marked Allegro vivace (fast and lively) is again in sonata form. The cello plays both the first subject and a contrasting second subject. The first subject dominates the development. The finale ends with an expressive coda. The movement has been described as contrasting episodes of "bravura" and others of "gentle repose", ending in a "joyous conclusion". Cellist Jan Vogler summarised that the sonata "is an aristocratic, temperamental piece, full of musical expression and imagination. Its form is perfect, and it shows Beethoven's great taste." Recordings The sonata has been recorded often, especially in sets of all cello sonatas by Beethoven, or all music by him for cello and piano which includes also several sets of variations. Pablo Casals recorded the five cello sonatas in the 1930s, the Third with pianist . In 1950, the sonata was recorded, together with the second by Maurice Gendron and composer Jean Françaix as the pianist. A recording of all cello sonatas was made by Mstislav Rostropovich and Sviatoslav Richter in 1963, which has been regarded as one of the greatest collaborations ever. Pierre Fournier and Wilhelm Kempff recorded the works in 1965, followed by Casals and Mieczysław Horszowski, Jacqueline du Pré and Daniel Barenboim, Yo-yo Ma and Emanuel Ax, Jean-Guihen Queyras and Alexander Melnikov, Daniel Müller-Schott and Angela Hewitt, and Mischa Maisky and Martha Argerich. The five sonatas were recorded in 2014 by cellist and pianist Per Lundberg. Steven Isserlis and the musicologist Robert Levin played the sonatas on historic instruments, with forte-piano instead of a modern concert grand, to ensure the balance of sound Beethoven had in mind. They used a new critical edition by the musicologist Jonathan Del Mar. Jacqueline du Pré also made an earlier, critically well-received version with Stephen Kovacevich. References Further reading Beethoven,