The finale of Beethoven’s Sonata No. 16, Op. 31, No. 1, is a Rondo in G major. Its Allegretto opening presents a connected right-hand melody over a gently moving accompaniment. The theme returns with different textures, including faster triplet patterns and a broader upper line. A long closing section repeatedly slows and restarts before a final Presto brings quick gestures, sharp contrasts, and a surprisingly quiet ending.

Opening refrain: The right hand begins alone with a short rising-and-falling phrase. The left hand enters beneath the sustained melody, combining bass notes with a smaller moving voice. Slurs connect the upper phrases while accents briefly emphasize individual notes. The theme moves into a higher register and gains quicker ornamental figures. Later in the opening page, the accompaniment changes to flowing triplets without losing the main melody.

Contrasting episode: A transition develops short rising figures and exchanges them between the hands. The next idea has a more broken upper line, with rests and accents above longer bass notes. Repeated right-hand pairs gradually build in intensity. Sustained lower chords and running upper notes then lead back toward the refrain, now supported by a more continuous left-hand pattern.

Middle development and varied returns: The central episode starts with a lower-voice entry and moves through changing harmonies. The hands trade the melody, and the left-hand triplets continue beneath held right-hand notes and intervals. The refrain later appears in a broader register with upper octave writing. Earlier contrasting figures return, increasingly supported by rolling triplets. Repeated upper notes and stronger bass chords build toward the coda.

Coda and Presto: The coda begins with a quieter, more spacious version of the theme. Short phrases pause, resume at the earlier tempo, and slow again into Adagio passages. The final page introduces a Presto over a sustained low trill. Fragments of the theme jump between registers, and a repeated lower figure builds beneath detached upper chords. After several forceful exchanges, the final chords diminish to a soft ending separated by rests.

Interesting fact: Near the end, the score alternates Tempo I and Adagio before introducing Presto, making changes of pace a written feature of the closing section.