The finale of Beethoven’s Sonata No. 15, Op. 28, is a Rondo in D major and six-eight time. A recurring bass pattern and a gently rocking upper melody give the opening a rustic character. Between returns of this theme, the movement introduces flowing broken chords, more independent lines, stronger accents, and rapid passagework. A substantial coda ends with a faster Più Allegro and emphatic final chords.

Opening refrain: The left hand starts with a pickup and establishes its repeated low-note pattern before the right-hand melody enters. Longer upper notes overlap a smaller moving voice, creating several layers within a quiet texture. The melody rises and falls in compact phrases while the accompaniment keeps its characteristic rhythm. Later repetitions add quicker notes and small changes of harmony.

First contrasting episode: The music moves into rising broken-chord figures shared by both hands. Slurs connect the groups, and crescendos carry them toward stronger arrivals. A contrasting idea then places an upper melody over moving inner notes, with occasional hand changes and short ornamental gestures. Rapid right-hand passages appear above a slower bass line before the familiar opening pattern returns.

Middle episode: A new, quieter idea separates the hands into short, answering figures. The bass changes register and the upper part stretches into wider intervals. The writing becomes more independent as several lines enter and overlap; slurs, ties, and accents distinguish them. This grows into forceful chordal writing and quick upper figures over a more sustained lower layer. A descending run and a pause prepare another return of the main theme.

Final return and coda: The refrain and earlier broken-chord episode return with altered details. The coda begins quietly with fragments of the familiar melody and grows through repeated gestures, changing harmonies, and stronger chords. A brief slowing reduces the momentum before the final Più Allegro. Here, continuous right-hand sixteenth notes move above detached bass notes and intervals. Rising and falling runs expand across the keyboard, and a last broad descent leads to the closing chords.

Interesting fact: The last page changes the marking from Allegro, ma non troppo to Più Allegro, and the right hand’s nearly continuous rapid notes give the ending a distinctly different texture from the opening refrain.