The first movement of Beethoven's Sonata No. 12 in A-flat major, Op. 26, begins with a quiet Andante theme and follows it with five variations. The melody is first heard within a chordal texture, with an answering line in the left hand. Each variation changes the way the hands share the music: flowing figures, lightly repeated chords, a darker minor-key version, short exchanges, and continuous decorative passagework all grow from the opening material. A gentler closing passage draws the movement back toward the character of its theme.

Theme: A short pickup leads into a rising melodic gesture above softly moving lower voices. The right hand's tune is often supported by intervals and chords, while the left hand alternates bass notes, small figures, and a more prominent answering melody. Brief trills and changes of emphasis interrupt the otherwise restrained phrases. The theme closes quietly before the first variation begins.

First and second variations: The first variation loosens the texture into rising and falling figures. Widely spaced bass notes support the opening phrases, and the left hand later becomes more active, answering the right hand with its own quick groups. In the second variation, the bass moves steadily while short right-hand chords fall between its notes. These repeated chords carry the melody within a light, closely patterned texture. The music reaches higher registers and becomes louder before returning to its quieter opening pattern.

Third and fourth variations: The third variation, marked Minore, moves into a darker sound. A low melody, sustained inner notes, dotted rhythms, and repeated accents give it a heavier character than the preceding variation. The fourth restores the major-key setting and divides its phrases into quick conversations between the hands. Slurred notes in one hand answer detached chords in the other, and the material moves between low and high registers. A more animated middle passage subsides into the opening exchange.

Fifth variation and close: Both hands take part in continuous running figures, with longer notes and inner voices outlining the melody. The texture becomes more elaborate as the phrases rise, gather strength, and return. On the final page, this motion gives way to a passage marked tranquillo and dolce cantando. Repeated right-hand chords and a simpler bass pattern accompany a last, quiet recollection of the theme before the sustained final harmony.

Interesting fact: The title page of this score dedicates the sonata to Prince Carl von Lichnowsky.