The second movement of Beethoven’s Sonata No. 27, Op. 90, is an extended, singing finale in E major. Its recurring theme combines an upper melody with small accompanying notes inside the right hand and light bass entries below. More animated episodes introduce dotted chords, flowing figures, and changes of harmony. The familiar melody returns several times, eventually appearing in the lower voice before a gently decorated close.

Principal theme: Two short pickup notes lead into the main melody. The right hand keeps its upper line distinct from the sixteenth notes beneath it, while the left hand initially supplies brief detached bass notes. As the phrase expands, the accompaniment moves into the left hand. Upper intervals and octaves rise above broken sixteenths, with crescendos, softer responses, and small chromatic changes shaping the continuation.

Contrasting episodes: A return of the theme leads into grace-note figures and a stronger passage of dotted upper chords. The lower line falls through short sixteenth-note patterns, and the dynamics alternate between forceful accents and quieter replies. Later passages hold melody notes above repeated inner notes in one or both hands. The texture then relaxes into longer upper harmonies supported by left-hand triplet eighths, which eventually give way to sixteenths again. An ascending flourish brings back the principal theme.

Further returns and changing harmony: Familiar melodic phrases recur with altered details and different routes into the next episode. The music moves away from E major, including a passage with no sharps in the key signature, then continues through chromatic harmonies. Long upper chords stand over active lower figures, while short upper runs connect the phrases. The singing theme returns once more, followed by the dotted-chord episode and the texture of held melody notes over repeated inner notes.

Lower melody and closing passage: A quiet diversion introduces simpler upper eighth notes, sustained lower intervals, and an una corda marking. After the motion gathers again, the main melody appears in the left-hand tenor while the right hand plays broken sixteenth notes above it. The usual upper melody and lower accompaniment later resume. Near the end, a short left-hand cantabile phrase leads into gentle upper replies. A final simple statement of the theme opens the coda, where fragments pass between the hands and a rising flourish briefly increases the activity. The ending falls back to pianissimo.

Interesting fact: The score specifically draws attention to the tenor melody during the later return, when the familiar theme is heard below the right-hand accompaniment rather than above it.