The second movement of Beethoven’s Sonata No. 22, Op. 54, is an Allegretto driven by nearly continuous sixteenth notes. Running figures pass from one hand to the other, join together, and return in changing harmonies. Two repeated sections lead to a faster Più Allegro ending, where low oscillating notes, upper octaves, and strong accents bring the movement to a firm close.

Opening exchanges: The left hand begins alone with a soft broken figure. When the right hand enters, the left sustains its harmony; the roles then exchange again. These overlapping entries grow into passages where both hands move in sixteenths. Broken intervals, including sixths, are central to the pattern. Short held notes and sforzando chords punctuate the flow without stopping it for long. First and second endings complete this opening section, with a brief left-hand trill and a lower-register lead-in on the second route.

Extended middle section: A new version of the running figure starts above a held lower note. The music then develops through two-hand patterns, chromatic changes, and wide bass notes beneath the upper motion. Octave melodies appear over lower sixteenths before the hands exchange their roles again. Strong and soft markings often follow each other closely. In a quieter passage, upper broken figures accompany short falling notes in the left hand, and several phrases are marked espressivo. The same steady motion continues beneath these changes of character.

Build and second repeat: Short melodic phrases alternate with more continuous two-hand writing. A low oscillating figure supports a rising upper line, followed by octave statements and further changes of register. Sudden quiet entries interrupt the stronger phrases. Near the end of this larger section, repeated right-hand chords sit above a moving lower part. A small slowing leads into a left-hand trill. The first ending returns to the beginning of the section; the second proceeds into the faster close.

Più Allegro ending: The bass oscillates rapidly beneath rising upper figures and octaves. Accented chords, brief dynamic surges, and syncopated upper intervals add weight to the final page. Further running figures lead to two separated closing chords and a final rest with a fermata.

Interesting fact: This edition gives the opening Allegretto a metronome range of 138–144 quarter notes per minute, then marks the Più Allegro at 152.