The Arietta finale of Beethoven’s Sonata No. 32, Op. 111, develops a quiet singing theme through a series of variations. Its simple opening chords gradually give way to more active rhythms, arpeggios, repeated-note patterns, and long trills. Some passages place the melody inside a delicate upper texture; others set it above a continuously moving bass. After a broad final variation, the music returns to a soft, spacious ending.

Theme and first variation: The theme is marked Adagio molto semplice e cantabile and written in 9/16. Its upper melody moves over inner chords and a gently changing bass. Two repeated sections use alternate endings to connect their phrases. The first variation keeps the melodic outline clear while the left hand adds a flowing sixteenth-note accompaniment. The right hand combines the melody with a second moving part, and the phrases continue through another pair of repeated sections.

Rhythmic variations: The second variation changes the written meter to 6/16. Short and long note values, tied inner voices, and displaced accents make the texture more intricate. The hands exchange melodic and accompanying roles within a closely connected pattern. The third variation moves into 12/32 and introduces wider arpeggios, descending runs, and strongly accented figures. Tied chords alternate with quick notes, often across a large span of the keyboard. First and second endings preserve the repeated structure while changing the links between sections.

Quiet fourth variation: The return to 9/16 brings a much softer texture. Repeated low figures in the left hand continue beneath short upper chords separated by rests. A rising passage then carries the music into the high register, where the right hand plays a continuous quick pattern and the left supplies a more distinct melodic line. These low and high textures return with changing harmonies. The moving pattern later passes into the left hand beneath sustained upper chords, followed by brief arpeggios between registers.

Trills and final variation: A long series of upper trills supports melodic notes and short bass responses. One passage adds a simultaneous lower trill before a quieter, conversational exchange between the hands. The fifth variation restores the main theme in longer upper notes, with a moving inner voice and continuous lower figures. The bass travels through increasingly wide arpeggios while the upper melody grows into larger intervals and chords. Rising registers, accents, and pedal markings accompany the strongest part of this section.

Closing pages: The sound softens into another extended trill passage. The melody continues beside the trill while the left hand maintains its rapid accompaniment. After the trills end, both hands move through quiet parallel figures and a descending run. Widely separated fragments of the theme lead to the last soft chords and written rests.

Interesting fact: The score changes from 9/16 to 6/16 and then 12/32 while marking the later variations “L’istesso tempo,” preserving the underlying pace as the written rhythms change.