The film begins with a visualization of Beethoven's Piano Sonata No. 32 in C minor, Op. 111, and Wyborny nearly misses the first movement. Yes, the "savage and bare fire" (Kaiser) of this tempestuous last piece of Beethoven nearly tears him apart. He who, while the aggressive Allegro explodes (when the sonata has begun to spread out with a deliberately "false" address in the old French overture rhythm), gets wrapped up in every pause and every peak; he who absolutely wants to work on these dialectical poles of tension in the finest agogic gradations, to shape the contrasts of the tempo in an angular way, will be torn apart. Wyborny escapes from the abyss, Beethoven would have done the same in an emergency, improvising on his own. Many spectators probably did not notice the drama. Others noticed it, were shocked, pulled themselves together, took a breath - and then were overwhelmed by the ingenious solution.