The second movement of Beethoven's Sonata No. 12, Op. 26, is a brisk Scherzo marked Allegro molto. Its opening combines short notes, sustained intervals, and sharply placed accents over a bass that frequently jumps between registers. A smoother Trio provides a contrast before the Scherzo returns. The difference between the clipped outer sections and the longer, connected lines of the Trio gives the movement its clear three-part shape.

Opening Scherzo: A short upbeat leads into an accented harmony whose notes are held across the next beat. The hands often share the same rhythm, but the bass changes position while upper notes remain sustained. Brief rests interrupt the phrases, and the first section repeats. The following passage continues the chordal writing with stronger accents and changes of harmony. Repeated upper intervals gradually become quieter above widely separated left-hand notes.

Running passages: After this restrained stretch, the right hand breaks into a rapid rising and falling line marked brillante. The left hand supports it with accented entries and held intervals. The running motion then transfers to the bass, beneath short right-hand chords. A crescendo and emphatic final gesture close the second repeated section of the Scherzo.

Trio and return: The Trio is marked at the same tempo, but its longer notes and connected phrases create a calmer surface. A lower right-hand line moves beneath sustained upper notes, with the bass supporting the melody in broad gestures. Both sections repeat. Four forceful linking measures bring back the Scherzo, which is written out again in the score. Its accents, register changes, and running passages return before the movement ends with a strong chord and a rest.

Interesting fact: The Trio's heading says “l'istesso tempo,” meaning that its gentler character is to be heard at the same tempo as the Scherzo.