The finale of Beethoven’s Sonata No. 23, Op. 57, is driven by nearly continuous sixteenth notes, sharp dynamic changes, and repeated rhythmic accents. Its main figure passes between the hands and grows into octave writing, tremolo intervals, and imitative exchanges. A large repeated later section leads to a faster Presto, where repeated chords and rushing figures bring the sonata to a forceful close.

Opening and running theme: Strong repeated chords launch the movement before a quiet right-hand figure begins above rests in the bass. The line travels through different registers, and the left hand gradually joins the motion. Lower chords and short bass notes punctuate the upper pattern. As the passage develops, sustained and syncopated harmonies appear beneath the running notes, adding another layer to the texture. The sixteenth-note movement later transfers to the left hand while the right answers with short chords.

Expanding textures: High upper runs sound above lower oscillating intervals. The right hand then uses repeated octave figures while a slower melody moves underneath. The two parts sometimes follow different dynamic shapes, so their roles remain distinct. Resolute imitations pass between the hands, followed by repeated upper chords above left-hand runs. Wide arpeggios and a quieter transition lead into the larger repeated section.

Later section and return: The main rhythmic idea is developed through exchanges between the hands and passages where both parts move rapidly. Short accented upper phrases expand into octave statements above lower tremolos. Hand-to-hand arpeggios, rests, and very soft sustained harmonies temporarily thin the texture before the principal running material returns. This return includes altered passages, changing registers, and renewed exchanges of melody and accompaniment. First and second endings direct the large repeat and the onward route into the close.

Presto ending: An accelerating passage leads to a new burst of repeated chords at Presto. Two short repeated phrases use alternate endings. The running idea then resumes over syncopated lower chords and wide bass movements. High notes and octave accents stand out above the motion, followed by descending sixteenths in both hands. Strong detached chords finish the movement decisively after the long stretch of continuous activity.

Interesting fact: On the final page, the edition compares one high-register gesture to a trumpet call and a later bass accent to a drumbeat, suggesting different instrumental colors within the piano texture.