The arioso ends with repeated G major chords of increasing strength, repeating the sudden minor-to-major device that concluded the scherzo – now 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 the traditional Italian). There are many performance instructions in this passage that 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); ascribes an unreal, illusory quality to it. The final fugue gradually increases in intensity and volume. 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, the work's dominant. During this statement of the subject in the bass the pianist is instructed to gradually raise the "una corda" pedal. Beethoven here relaxes the tempo 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 this "flame" motif, the contrapuntal parts lose their identity . sees the following, final section as a "shaking off" of the constraints of polyphony, while goes so far as to label it a "peroration", calling the closing passage "exultant". It leads to a final four-bar tonic arpeggio and a last emphatic chord of A major.