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"The first geometrical, on the origin and demonstration of the laws of the figures which produce harmonious proportions; the second, architectonical, on figurate geometry and the congruence of plane and solid regular figures; the third, properly Harmonic, on the derivation of musical proportions from figures, and on the nature and distinction of things relating to song, in opposition to the old theories; the fourth, metaphysical, psychological, and astrological, on the mental essence of Harmonics, and of their kinds in the world, especially on the harmony of rays emanating on the earth from the heavenly bodies, and on their effect in nature and on the sublunary and human soul; the fifth, astronomical and metaphysical, on the very exquisite Harmonics of the celestial motions and the origin of the excentricities in harmonious proportions."
It swung itself into the higher register, where it came to a stop before A major, just as the introduction stopped before C major. Then, after the theme has once more presented itself in a modified form variant it comes under the pestle of an extremely figurate coda, which demands the study of an artist, the strength of a robust man the most vigorous pianistic health, in a word!
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