The finale of Beethoven’s Sonata No. 21, Op. 53, is an expansive Rondo that begins almost weightlessly and ends in a rapid Prestissimo. Its main theme is surrounded by quiet broken figures, octave statements, sustained trills, and energetic episodes. Repeated returns of the melody take on different registers and textures before the much faster closing section transforms the material.

Quiet main theme: At the Allegretto moderato opening, the principal melody lies in the left hand, beginning with a low bass note and continuing in the upper part of the lower staff. The right hand supplies soft sixteenth-note figures above it. Long pedal markings connect the sound across these widely spaced registers. The melody later moves into right-hand octaves while the left hand takes over the broken sixteenths. A long upper trill grows over the moving bass, then becomes rapid repeated notes beneath a more prominent melodic line.

Energetic episodes and returns: The first faster episode uses triplet figures divided between the hands, accents, and a more forceful minor-key character. It settles back into the original pace and the very quiet opening theme. Another octave statement leads to a trill that continues beneath upper melodic notes. A later minor-key episode gives rapid figures alternately to each hand, with octaves, strong accents, and changing registers. As this section relaxes, quieter chord voices imitate one another before rising and falling upper figures appear over a widely spaced lower line.

Build toward the closing section: The theme returns through altered harmonies and registers, then expands again into octaves and sustained trills. A long passage combines right-hand triplet sixteenths with regular left-hand sixteenths. The different groupings continue through repeated accents and changes of position. Broad chords interrupt this activity, and the texture gradually thins into rests, very soft harmonies, and a long fermata before the Prestissimo.

Prestissimo: The faster closing section brings the theme above repeated lower notes, followed by scales, octave lines, and quieter triplet figures. Octave passages alternate between the hands before an extended upper trill accompanies a moving lower line. The melody then continues over rapid repeated notes, with the texture gradually changing as the final page approaches. Further trills and an accelerando lead to short thematic fragments, rising figures, and separated closing chords with sharp dynamic contrasts.

Interesting fact: This edition includes a footnote offering an alternative to the quiet octave glissandos in the Prestissimo. The printed main passage and the suggested substitute show two different ways of approaching this unusual keyboard effect.