The first movement of Beethoven's Sonata No. 8 in C minor, known as the Pathétique, moves between a slow, weighty introduction and fast music driven by alternating bass octaves. Chords, sudden changes of loudness, short ornamental figures, and long descending runs give the opening an unsettled character. The faster section brings a more continuous pulse, but the slow music returns twice to interrupt it. These changes of pace remain central to the movement, even as its themes move through different keys and registers.

The opening Grave occupies measures 1-10. Thick chords are followed by dotted figures, rests, and quick notes that connect one gesture to the next. Quiet melodic answers alternate with forceful chordal responses. Near the end of the introduction, the right hand descends through a long chromatic run. A held pause leads directly into the fast section, with an instruction to continue immediately.

From measure 11, the Allegro begins quietly over a rapidly alternating low octave. The right-hand line climbs into more substantial chords, and the bass pattern continues beneath changing harmonies. Around measures 25-50, accented notes, short descending figures, and changes of register interrupt the opening's steady ascent. The accompaniment repeatedly shifts between the octave pattern and more separated chords.

Around measures 50-85, a contrasting theme uses short slurred gestures, grace notes, and repeated chordal support. Its phrases cross between registers, and brief ornaments add activity to the melody. Around measures 90-120, running eighth notes and sustained upper notes produce a more continuous texture. The exposition closes with strong chords and a printed repeat, with separate first and second endings.

The next page brings back the slow opening manner before the Allegro resumes. In the development, familiar figures appear in different registers, and running notes pass between the hands. Around measures 170-190, trills, held notes, and descending passages prepare the return of the main material. The opening Allegro idea reappears around measure 195, followed by its contrasting themes in altered settings.

On the final page, the forward motion stops for another short Grave passage around measures 295-297. The fast opening idea then returns for the closing stretch. Low octave motion supports the last ascent, before separated chords and rests bring the movement to an emphatic close.

Interesting fact: The score's title page dedicates this sonata to Prince Carl von Lichnowsky.