The finale of Beethoven’s Sonata No. 26, Op. 81a, is a lively Vivacissimamente filled with rising runs, bright chordal gestures, and quick exchanges between the hands. A soft principal theme follows the opening burst of activity, while a contrasting melody rests above repeated inner notes. The music later slows into a decorated recollection of the theme before returning to its original energy for the final cadence.

Opening and principal theme: A forceful chord launches rapid figures in both hands. The upper runs climb into a high register while short falling lower intervals punctuate the motion. A sudden soft entry introduces the main theme in slurred eighth notes over brief left-hand chords. As this passage continues, the lower part takes a more melodic role beneath short upper flourishes. The printed repeat begins with this theme, after the introductory runs.

Brilliant passages and contrasting idea: Upper sixteenths move above lower eighth notes, often in opposite directions. Wide arpeggios and high-register patterns then sound over repeated lower chords. Accented single notes and rests briefly interrupt the flow. A lighter passage uses grace notes and small upper fragments before the contrasting theme arrives: longer melody notes sit above repeated middle sixteenths, supported by a gentle lower pattern. Runs, tuplets, and a right-hand trill decorate this material.

Exchanges and middle section: The running notes move into the left hand while the right answers with short chords and intervals. A lower trill and further arpeggios lead to alternate endings for the exposition repeat. The middle section changes the harmony and texture, placing longer upper notes over lower chords and then over more continuous sixteenths. Familiar ideas move between registers, with sudden soft responses and changes in which hand carries the active figure.

Return and slower reflection: The principal theme returns above a more animated left-hand pattern. Rapid upper runs, lower repeated chords, and lighter decorated phrases lead back to the contrasting melody and its inner repeated notes. Later, a Poco Andante opens a slower recollection of the main material. The melody becomes ornamented and chordal, with quieter responses, changes of pace, and a final fermata.

Final return to tempo: At Tempo I, wide right-hand sixteenths resume above lower eighths. Repeated bass chords add strength as the upper line rises. Separated closing chords finish the movement firmly.

Interesting fact: In the slower closing passage, this edition gives dotted-quarter metronome markings of 58, 54, 50, and 58 before the final return at 112.