The second movement of Beethoven’s Sonata No. 17, Op. 31, No. 2, is an Adagio in B-flat major and three-four time. A measured, ornamented melody alternates with a distinctive low repeated-note figure. Rolled chords, dotted rhythms, brief trills, and sweeping runs decorate the upper line. The returning theme later gains a much more active left-hand accompaniment. The movement closes quietly after a coda that recalls both the melody and the low rhythmic pattern.

Opening melody: A widely spaced rolled chord introduces the movement. The upper line moves between held notes, dotted figures, and small ornamental groups, while the left hand answers with isolated bass notes and rests. The melody changes register several times, bringing the right hand into the lower staff before returning to the treble. Trills and quick rising runs interrupt the slower line. Brief accents and changes from soft to moderately strong dynamics give individual phrases more weight.

Repeated-note episode and contrasting theme: A low triplet figure appears between rests. It continues beneath a chordal upper melody and gradually moves into different registers. The right hand often holds a top note while a smaller inner voice moves beneath it. A quieter dolce theme follows, with dotted upper figures over gently moving left-hand notes. Both hands contain smaller voices within the texture, so the melody is not simply a single line above a bass. A return of the low triplet pattern and a short slowing connect this section to the opening idea.

Decorated return: The main melody returns with added ornamentation. The left hand then begins long groups of thirty-second notes beneath the slower upper phrases. These runs rise and fall across a wide range while the right hand sustains chords or moves through short melodic figures. The accompaniment becomes quiet again, and the earlier repeated-note episode returns under changing upper harmonies. The contrasting dolce theme also reappears, now leading directly into the coda.

Coda and final ornaments: The low rhythmic pattern supports sustained upper intervals and short answering gestures. Later phrases move between soft chords and more active inner lines. On the final page, trills and extended runs briefly interrupt the measured pace. The closing phrase combines an upper ornament with broken lower notes, then arrives at a quiet final chord.

Interesting fact: In this edition, a footnote explains the marking mp as a tone level between p and mf; the marking appears beside the opening melody.