ue is broken off by a dominant seventh of A? major, which resolves enharmonically onto a G minor chord in second inversion. This leads into a reprise of the arioso dolente in G minor marked ermattet (exhausted). Kinderman contrasts the perceived "earthly pain" of the lament with the "consolation and inward strength" of the fugue – which Tovey points out had not reached a conclusion. Rosen finds that G minor, the tonality of the leading note, gives the arioso a flattened quality befitting exhaustion, and Tovey describes the broken rhythm of this second arioso as being "through sobs". The arioso ends with repeated G major chords of increasing strength, repeating the sudden minor-to-major device that concluded the scherzo. A second fugue emerges with the subject of the first inverted, marked wieder auflebend (again reviving; poi a poi di nuovo vivente – little by little with renewed vigour – in th e traditional Italian); Brendel ascribes an illusory quality to this passage. Some performance instructions in this passage begin poi a poi and nach und nach (little by little). Initially, the pianist is instructed to play una corda (that is to use the soft pedal). The final fugue gradually increases in intensity and volume, initially in the key of G major. After all three voices have entered, the bass introduces a diminution of the first fugue's subject (whose accent is also altered), while the treble augments the same subject with the rhythm across the bars. The bass eventually enters with the augmented version of the fugue subject in C minor, and this ends on E?. During this statement of the subject in the bass, the pianist is instructed to gradually raise the una corda pedal. Beethoven then relaxes the tempo (marked Meno allegro) and introduces a truncated double-diminution of the fugue subject; after statements of the first fugue subject and its inversion surrounded by what Tovey calls the "flame" motif, the contrapuntal parts lose their identity. Brendel views the section that follows as a " off" of the constraints of polyphony; Tovey labels it a peroration, calling the passage "exultant". It leads to a closing four-bar tonic arpeggio and a final emphatic chord of A? major. Matthews writes that it is not fanciful to see the final movement's second fugue as a "gathering of confidence after illness or despair", a theme which can be discerned in other late works by Beethoven (Brendel compares it with the Cavatina from the String Quartet No. 13). Martin Cooper describes the coda as "passionate" and "heroic", but not out of place after the ariosos' distress or the fugues' "luminous verities". Rosen states that this movement is the first time in the history of music where the academic devices of counterpoint and fugue are integral to a composition's drama, and observes th at Beethoven in this work does not "simply symbolize or represent the return to life, but persuades us physically of the proc