The first movement of Beethoven’s Sonata No. 32, Op. 111, begins with a slow, forceful introduction before launching into an active Allegro. Dotted chords, short trills, and broad arpeggios establish the opening character. The faster music combines a compact theme with running sixteenth notes, octave bass lines, and exchanges between the hands. Brief lyrical passages interrupt its momentum, and the movement eventually settles into a quiet close.

Slow introduction: The Maestoso opens with a low octave pickup and strongly accented chords. Tied notes and sharply dotted rhythms alternate with short rests. Trills decorate the upper line, while rapid arpeggios connect widely separated registers. The texture then becomes quieter and more sustained. Chromatic chords move over a regular lower part before a short cantabile phrase appears. A repeated low-note figure gathers energy beneath a held upper harmony and leads into the Allegro.

Allegro and contrasting theme: The principal idea enters strongly in both hands, with a fermata briefly holding its motion. Running sixteenths follow, first above a more regular lower line and then in both hands. The music alternates single-note runs, double notes, and heavier chordal gestures. The moving figure transfers to the left hand as the right presents a more detached line. A change of key brings brighter upper runs and wide leaps above repeated lower intervals. A soft, expressive phrase then introduces ornamental flourishes, a slowing passage, and a brief Adagio before the faster motion returns.

Repeat and middle section: The closing part of the exposition uses emphatic bass octaves, upper chords, trills, and parallel running figures. First and second endings direct its repeat and continuation. The quieter middle section stretches the theme into longer notes while another voice answers beneath it. Trills and quick figures pass between the hands. Changing harmonies, accented chords, and lower arpeggios gradually rebuild the intensity.

Return and coda: A strong return of the main idea leads into descending runs and another sequence of offbeat chords. Familiar figures reappear in different registers and keys, with both hands sometimes moving in sixteenths together. The lyrical contrast returns with further changes of tempo and ornamental groups. Gradually accelerating figures lead back to forceful runs and accented bass notes. Near the end, a passage marked Vivacissimo rises through both hands before the sound diminishes. The coda places sustained upper voices above a connected left-hand accompaniment, ending with a soft chord and a fermata.

Interesting fact: Although the movement opens in C minor, its final quiet chord is C major, creating a different color at the close.