This leads back to a restatement of the "meno mosso e moderato" section. This time, though, instead of a silky "pianissimo", the "fugato" is played "forte", heavily accented (Beethoven writes on every sixteenth-note group), march-like. Analysts who see the fugue as a variation of sonata-allegro form consider this to be part of the recapitulation section. In this section, Beethoven uses another complex contrapuntal device: the second violin plays the theme, the first violin plays the main subject in a high register, and the viola plays the main subject in inversion – that is, upside down.  « \new StaffGroup «   A series of trills leads back to the home key of B, and a restatement of the "scherzo" section. There follows a section that analysts have described as "uneasy hesitation" or "puzzling" and "diffused". Fragments of the various subjects appear and disappear, and the music seems to lose energy. A silence, and then a fragmentary burst of the opening of the first fugue. Another silence. A snippet of the "meno mosso". Another silence. And then a "fortissimo" restatement of the very opening of the piece, leading to the coda. From here the music moves forward, at first haltingly, but then with more and more energy, to the final passage, where the first subject is played in triplets below the soaring violin line playing a variant of the second subject. Analyses of the "Grosse Fuge" help to understand the structure and contrapuntal devices of this mammoth piece. But, writes musicologist David B. Levy, "Regardless of how one hears the piece structurally, the composition remains filled with paradoxes that leave the listener ultimately dissatisfied with an exegesis derived solely from a structural perspective." Since its composition, musicians, critics and listeners have tried to explain the tremendous impact this piece has. But beyond a recognition of the hugeness and almost mystical impact of the music, critics fail to agree on its character. Robert S. Kahn says "it presents a titanic struggle overcome." Daniel Chua, on the contrary, writes, "The work speaks of failure, the very opposite of the triumphant synthesis associated with Beethovenian recapitulations." Stephen Husarik, in his essay "Musical direction and the wedge in Beethoven's high comedy, Grosse Fuge op. 133", contends that in the fugue, Beethoven is actually writing a parody of Baroque formalism.