The finale of Beethoven’s Sonata No. 30, Op. 109, presents a quiet singing theme followed by six variations. Each variation changes the theme’s rhythm, texture, or placement between the hands. Chordal writing gives way to delicate exchanges, quick counterpoint, flowing imitation, and finally extended trills. After the most elaborate passage, the original theme returns and the sonata ends softly.

Theme and first variation: The theme unfolds in two repeated halves. Its upper melody is supported by several connected voices, with dotted rhythms and short ornamental arpeggios adding movement to the chordal texture. The first variation broadens the upper line into a more decorated melody above bass notes and offbeat chords. Brief runs and grace notes enliven its phrases. Alternate endings change the approach to each repeat and to the following section.

Second and third variations: The second variation begins with light sixteenth notes alternating between the hands and separated by small rests. A gentler melodic passage appears over repeated lower chords, decorated with short trills. The alternating figures then return in changed registers and harmonies. The third variation makes a sharper contrast: quick sixteenth-note runs pass between the hands while the other part supplies detached eighth notes. The lines exchange roles, climb through the keyboard, and briefly grow more forceful before the sound relaxes.

Fourth variation: A slower section in 9/8 introduces flowing, imitative lines. One hand begins a phrase that the other answers or continues, while sustained notes remain audible around the moving figures. Rising sequences and register changes gradually expand the sound. Both halves have alternate endings and repeats. Later passages combine repeated chords with running notes, then turn to descending figures and a quieter close.

Fifth variation: The theme is stated in strongly marked longer notes within a more active contrapuntal texture. Other voices enter around it, and steady eighth notes move beneath or above the sustained lines. Accents distinguish the thematic shapes from the accompanying motion. The hands trade registers and roles, with larger intervals and chords increasing the weight. A quieter continuation and a slowing final phrase prepare the last variation.

Sixth variation and return: The original tempo returns, but the rhythmic motion gradually becomes more detailed. Repeated notes move from slower values into increasingly rapid subdivisions. These develop into sustained trills while separate melodic and bass lines continue around them. Both hands briefly combine trills with other voices; later, the trill remains in one hand while the other plays long runs and arpeggios. The hands exchange these roles, and the sound gradually diminishes. The rapid texture finally clears, revealing the opening theme again. Its connected chords and simple melodic outline close the work with a quiet ritardando.

Interesting fact: The final page brings back the original theme after the sixth variation’s extended trills, so the sonata closes by returning to the music that began this movement.