There are two major considerations involved in transcribing a series of legato broken sixths as here indicated by Beethoven. The continuous eighth-note movement must be maintained — legato — throughout the passage. The problem is to integrate these characteristics so that they will be idiomatically practicable.
This adaptation of broken sixths applies the principle of having one legato part combined with a second, non-legato part carrying out the rhythmic notation. It is a setting possible at all tempos and dynamic levels.
At (1) the first violins are divided in octaves to compensate for the stronger forte dynamic as well as to fill the need for greater sonority as the figure ascends to a higher range. The entrance of the bass part at (2) requires a three-octave spread to avoid the large gap in the middle register and to add emphasis value to this part.