Perhaps, part of the reason this movement has come in for some criticism for repetitiveness, is that, not only are it's A sections identical, but it's contrasting sections aren't all that contrasting in terms of character. To be clear, I'm not jumping on this bandwagon, I'm just reporting here. I find that the subtle shifts of character from section to section, with everything falling under the general umbrella of contentment, for me these shifts are perfectly judged. The B section is a seamless continuation of where the A leaves off, just a little bit more overtly joyous. The very beginning of that B section is a kind of reminiscence of the first movement. For the first time in this movement, the sixteenth note underpinning is no longer continuous. There's back and forth between forte and piano, and forte and piano, just like the opening of the first movement. And as you may have noticed, each component of the phrase is a two note figure. Just like the one that dominates the first movement. But the similarity absolutely does not extend to the question of character, and the fact that the raw materials are related, only serve to underscore how un-alike these two movements are in the ways they count. There are no demons lurking here. And after eight bars of this material, the mellifluousness is immediately restored. So, that's the B section. Whereas, it's a bit more jovial, extroverted than the A, the C section is just slightly more anxious. Again, the main material here, already appeared in the B section, which I suppose makes this rondo not a hundred percent textbook. This time, the speed of the accompaniment is varied, and the harmony is in flux. We begin in C major, and then move to C minor. And that sudden and surprising modulation, shifts us up to C sharp minor. And finally, C sharp major, which at last points the way back towards E major, and home base. By the standards of this movement, that was a lot of turmoil, and I've always felt this appearance of the A section, the third one already, is a little more fervent than the previous two, given what it's coming out of. Be that as it may, it is still technically unaltered. Beethoven is, when he wants to be, the master manipulator of musical material, but here, the music simply unfolds without a hint of authorial interference. When the second beat comes, it's again tweaked in just the most minimal of ways, just enough to move this B major episode, back up to E major. But that's just a tiny course correction, not an intervention.