The finale of Mozart’s Sonata No. 5, K. 283, is a Presto in G major and three-eight time. Its compact opening combines chords, trills, and short melodic replies, then expands into running figures and lively exchanges between the hands. A substantial middle section explores new harmonies before the main themes return. Both large sections repeat, followed by a short coda.

Opening theme: A chordal melody sounds above repeated lower eighth notes. Trills and brief replies interrupt the steady pulse. The upper hand soon breaks into sixteenth-note figures, while the bass supplies broader notes and chords. The running motion then shifts toward the lower hand, leaving the upper melody more spacious. Tied notes and displaced accents briefly blur the regular three-eight grouping.

Secondary material: Repeated upper notes introduce a lighter idea after the more active opening. Sustained notes appear above a moving inner line, and the left hand alternates short replies with broken-chord accompaniment. Dotted gestures, trills, and small changes of register shape the phrase. The hands exchange quick figures before the music grows more emphatic.

Closing section: Chromatic chords and rising gestures lead to a longer upper pattern over a moving bass. Short, detached statements interrupt the flow. The music condenses into a compact cadence and reaches the first repeat sign.

Middle section: Soft fragments enter over changing lower chords. Longer runs then cross the upper register while the accompaniment sustains or rests. The passage develops through alternating hands, syncopated notes, and chromatic sequences. Stronger chords and short pauses separate its phrases. Later, the moving line narrows into smaller gestures and trills before a brief silence prepares the main theme’s return.

Return and expanded ending: The opening chordal idea returns with its familiar repeated-note accompaniment. Running figures again pass between the hands, followed by the secondary theme in a new harmonic setting. The closing passage is extended through chromatic runs, ornamented upper notes, and stronger bass octaves. Short chordal gestures lead to the second repeat. A four-bar coda then places broad rolled chords against rests, giving the finale a clear and spacious conclusion.

Interesting fact: The final coda changes the scale of the movement’s gestures: after pages of quick motion, two rolled chords are separated by full bars of silence.