Beethoven's Sonata No. 9 in E major opens with an Allegro that sets a rising melody against short repeated chords. The movement moves easily between a singing upper line, quick exchanges between the hands, and more forceful octave writing. Its middle section places the melody above continuous running accompaniment, while later pages bring back familiar ideas with changes in register and texture. The ending gradually settles into a quiet close.

The opening section introduces long right-hand notes above gently pulsing left-hand chords. Brief runs then pass between the hands, interrupting the longer melodic shapes. Around measures 10-20, sustained tones and moving inner notes lead into repeated bass notes and sharper changes between loud and soft. The opening melody grows out of a texture in which rests are as noticeable as the repeated chords.

Around measures 20-35, a quieter melodic passage becomes more exposed. The upper line moves in small steps, with held notes and short supporting gestures underneath. The melody later moves into a lower register, and the hands exchange parts of the phrase. Around measures 35-55, ornamental turns, octave shapes, and broken accompaniment build toward accented chordal writing. The music then withdraws into quiet repeated chords before the exposition repeat, which has separate first and second endings.

The middle section begins by recalling the opening shape in changing harmonies. Around measures 65-80, the left hand runs steadily in sixteenth notes beneath right-hand octaves and sustained tones. The melody alternates between held notes and shorter moving phrases while the accompaniment continues underneath. Repeated chord patterns then replace the running notes and gradually prepare the return.

Around measure 90, the opening melodic idea returns above a more active left-hand line. Later passages revisit the quieter melody, exchanges between registers, ornamental figures, and chordal responses. The return is not an exact copy: the accompaniment and placement of the notes change as the music continues. On the final page, stronger accents give way to quiet repeated figures, and the opening rising shape appears again above overlapping accompaniment. The final chords remain soft.

Interesting fact: The first page of this edition prints a dedication to Baroness von Braun directly above the music.