At the point where Beethoven introduces a diminution of the subject's rising figure the piece comes to rest on the dominant seventh, which resolves enharmonically onto a G minor chord in second inversion, leading into a reprise of the "arioso dolente" in G minor marked "ermattet" (exhausted). contrasts the perceived "earthly pain" of the lament with the "consolation and inward strength" of the fugue – which points out had not reached a conclusion. 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" .