The finale of Beethoven's Sonata No. 12, Op. 26, is a Rondo marked Allegro. It begins with a quick right-hand line, initially almost alone, before the left hand enters and takes an increasingly active role. Sixteenth-note figures pass between the hands throughout much of the movement, often beneath short chords or held notes. The recurring opening idea alternates with contrasting passages, including an insistent minor-key episode. Despite its nearly continuous motion, the finale ends quietly.

Opening idea: The right hand curls downward and back upward in linked groups of notes. The left hand enters with a sustained tone and then a rising figure. The running line soon moves into the bass while the right hand supplies brief answers and chords. At times, the two hands play related figures in different directions. The music grows louder and reaches higher registers before a short transition leads toward a contrasting theme.

First contrasting theme and return: A clipped right-hand melody appears above a regular left-hand pattern. Repeated upper notes develop into quick intervals, and stronger bass entries increase the momentum. Descending runs then lead back toward the opening idea, now supported by longer bass notes. The returning material is varied through changes of register, accompaniment, and emphasis rather than presented as a simple restart.

Minor-key episode: A more forceful section begins with abrupt contrasts between loud and quiet gestures. The left hand maintains a repeated running pattern while the right hand alternates short chords, rests, and quick figures. Both hands remain active as the music moves through changing harmonies. The texture gradually lightens, and a brief pause in the bass makes the next return of the opening line especially clear.

Later return and ending: Familiar hand exchanges and chordal answers come back, followed by the earlier contrasting theme in a changed setting. Repeated intervals and descending runs lead into the coda. Here the quick upper line continues above long bass notes, with accents interrupting the flow. The running figures descend into the middle register, become quieter, and finally stop over a soft closing harmony.

Interesting fact: This edition labels the finale “Rondo,” while its final page marks a coda that fades to pianissimo instead of ending with a loud flourish.