ABSTRACT. Solomon argues that in the openings of certain of his greatest works, Beethoven eradicates the implication of a safe haven. As Schenker puts it, in the first movement of Beethoven's Eroica symphony even the descending fifth-progression in bars 90-1, the third fifth-progression of the movement, remains without any kind of contrapuntal independence having been imparted to the individual notes. Ockelford writes that at the end of the last movement of Beethoven's Piano Sonata op. 110, a motive derived from the opening of the sonata forms an ascending sequence that leads to the climax of the work.