The first movement of Beethoven’s Sonata No. 18, Op. 31, No. 3, is a playful Allegro in E-flat major and three-four time. Its opening idea seems to ask a question: short dotted figures lead to held chords, pauses, and a slowing of the pulse. Quick runs answer these hesitant gestures. The movement develops this contrast through sparkling scales, a lighter contrasting theme, and several passages of trills before the opening rhythm returns in the coda.

Opening idea and transition: The right hand begins above a sustained chord, with a short phrase separated by rests. The phrase returns with a change of harmony, then slows into a more emphatic chordal gesture. A rapid upper run releases the tension. As the music continues, repeated left-hand eighth notes support an upper melody decorated with small ornamental figures. The right hand shifts between registers, and detached scale passages eventually bring both hands into motion. The printed changes of tempo distinguish the questioning opening from the more active passages.

Contrasting theme and exposition repeat: The section marked dolce scherzando places a light upper melody over rolling left-hand sixteenth notes. Longer right-hand runs follow, while the bass continues its broken patterns. The closing material includes arpeggios, repeated lower chords, and short trills. A more extended upper trill appears near the end of the exposition. A short closing phrase then leads to the repeat sign, after which the music returns to the opening.

Development and main return: The central section recalls the slower opening gesture before moving into quicker music. Repeated upper intervals answer dotted figures in the lower voice, and sequences carry the patterns through changing harmonies. Arpeggios and trills lead into a quieter passage of broken chords shared between the hands. The opening theme then returns, followed by the repeated left-hand notes, detached scales, and lighter contrasting theme heard earlier. The returning material includes longer upper runs and further exchanges between melody and accompaniment.

Coda: After another sustained trill, the music becomes quieter and recalls the opening rhythm. On the final page, repeated slowings and fermatas interrupt the motion, but quick runs keep restarting it. Detached rising figures bring the movement to two emphatic final chords.

Interesting fact: A footnote in this edition gives a specific seven-note realization for the short trills, including their closing notes. It even explains how those notes fit across the last two eighth-note beats.