The finale of Beethoven’s Sonata No. 18, Op. 31, No. 3, is a Presto con fuoco in E-flat major and six-eight time. Running eighth notes drive almost the entire movement, first in the left hand and later in the right. Short slurred phrases, repeated upper notes, and sharp accents ride above this motion. A large central section exchanges the patterns between the hands, and an extended coda brings register changes, pauses, and a forceful closing passage.

Opening and contrasting themes: A brief pickup leads into the repeat sign and a continuous left-hand broken-chord pattern. The upper theme enters above it with short connected figures and rests. Held notes and inner voices sometimes remain in place while the accompaniment moves around them. Later phrases introduce repeated upper octaves and chromatic turns. The running pattern occasionally moves into the right hand while the left supplies short chords. A lighter closing theme marked piacevole follows above the continuing bass motion. First and second endings complete the exposition repeat.

Development: The middle section begins with interval-based phrases in changing registers. Accented chords and stronger dynamics interrupt the smaller gestures. Passages marked con strepito place sustained upper notes over insistent lower patterns. The melody and accompaniment exchange roles, so the more prominent line is not always in the right hand. Both hands then take part in running figures that move across the staffs, with broad chords marking important arrivals. The texture eventually thins to a right-hand pattern alone, which fades before the lower opening figure returns.

Return of the themes: The main theme reappears above the left-hand eighth notes. Its continuation expands into longer upper phrases supported by held bass notes, then returns to the repeated notes and broken accompaniment of the contrasting material. Accents, register shifts, and stronger chordal passages keep changing the weight of the recurring pattern. The closing theme leads into a coda rather than another repeat.

Coda and final page: Short running figures first alternate between the hands. The score then changes from legato to non-legato, and the right hand continues the broken notes while a lower melody reaches into the treble register. On the final page, large arpeggiated chords and fermatas interrupt the motion. Quiet dolce replies alternate with stronger passages. After another brief slowing, paired figures rise through a crescendo and arrive at detached fortissimo chords.

Interesting fact: An editorial footnote in the coda draws attention to the printed change from legato to non legato, pointing out that the change of touch is explicitly indicated in the original.