The first movement of Beethoven’s Sonata No. 26, Op. 81a, begins with a quiet farewell phrase before moving into an energetic Allegro. Its three descending notes return in different forms throughout the movement. Broad upper melodies, repeated inner notes, active bass patterns, and exchanges between the hands give this music a conversational character. An extended closing passage revisits the farewell idea before a firm final cadence.

Adagio introduction: The opening places the three-note phrase in the upper part, with the word Lebewohl divided across it. Dotted figures and small decorations continue the melody above sustained notes and moving lower eighths. Inner voices remain held while other notes move around them. Changes of harmony, softer responses, and a brief slowing lead directly into the Allegro.

Allegro and contrasting melody: The quicker theme uses octaves and chords above lower harmonies, then expands over broken eighth-note patterns. Sudden high notes and sforzando accents interrupt the flow. A more singing idea places the farewell notes above repeated inner eighths, while the left hand supplies longer harmonies and moving lines. The melody therefore needs to be heard through the activity within the same hand. Agitated passages give way to quieter short phrases before alternate endings complete the exposition repeat.

Middle section and return: Long upper chords stand above an active lower melody, with rests and changing pedal markings separating some of the responses. The upper notes often move slowly while the lower part carries the phrase forward. A brief Vivo passage leads back to sustained cantabile writing. The principal theme then returns with its broken bass accompaniment, register leaps, and accented chords. The singing farewell idea also comes back, followed by further alternating agitated and tranquil passages.

Extended close: The main rhythmic figures continue into a longer closing section. Short exchanges give way to a dialogue of held notes and rests between the hands. Eighth-note runs first move beneath upper chords, then rise above sustained lower harmonies. Near the end, fragments of the farewell phrase overlap quietly, with carefully staggered entries and pedal changes. High running notes and very soft pauses finally lead to forceful separated chords.

Interesting fact: The score prints Le-be-wohl over the three descending notes at the opening and again when they reappear within the Allegro’s singing melody.