The second movement of Beethoven’s Sonata No. 16, Op. 31, No. 1, is an Adagio grazioso in C major and nine-eight time. A highly decorated right-hand melody unfolds above a light broken-chord accompaniment. Long trills, small ornamental groups, and sweeping runs give the upper line a vocal character, while the bass maintains a measured pulse. Later sections make the accompaniment busier and exchange the ornamented melody between the hands.

Opening melody: A sustained trill begins the melody over gently detached left-hand notes. The accompaniment separates a low bass from the higher notes of each broken chord. The right hand moves from held notes into short descending figures and chromatic decorations. Stronger accents briefly interrupt the graceful surface. At several points, repeated upper chords accompany a trill in the lower voice, followed by a long, lightly marked run across the keyboard.

Expansion and first cadenza: The melody continues through changing harmonies and more active accompaniment. Short inner voices emerge beneath the top line, and the left hand occasionally holds a bass note while moving above it. A gradual slowing leads to a pause and an extended unaccompanied run. The original melody then returns at the earlier tempo, with further ornamental divisions added to its outline.

Contrasting middle section: A quieter passage places held upper intervals above a repeated left-hand figure. The score then marks Poco animato. Repeated chords and descending scales alternate between the hands, giving this section a more insistent rhythm. Wider spacing, accents, and changes of register increase the weight of the texture. The music gradually reconnects with the earlier melody through a passage of changing chords and a return of the initial tempo.

Decorated return and coda: The opening tune reappears over denser left-hand sixteenth notes. Its trills and runs are more elaborate, and another long cadenza interrupts the regular accompaniment. The coda passes trills and melodic fragments between the bass and treble while a repeated inner figure continues. These exchanges gradually simplify into short chordal phrases. Softer dynamics, rests, and a final slowing lead to a quiet close.

Interesting fact: The score includes tiny written-out examples beneath several trills, illustrating how the ornaments may be realized; these examples are separate from the main musical staves.