Fourth Movement

C major, 6/8 time, Rondo-Sonata Form

The finale, in rondo-sonata form, begins with a main theme characterized by rapidly ascending sixth chords, followed by an ornamental passage placed over harmonies descending sequentially by thirds.

After the presentation of a secondary theme in the dominant key (G major), featuring arpeggiated chords with a distinctive rhythm, and the return of the main theme in the tonic key, a new theme is presented in the subdominant key (F major).

This new theme is characterized by chord inversions and sequentially descending chords, and can be considered an inversion of the main theme. After this theme is developed, placed in the bass voice and elsewhere, the music reaches the coda following the recapitulation of the main and secondary themes.

The coda is expanded, and the main theme is developed once more, accompanied by long trills, concluding the movement by repeatedly reiterating this motive.

Sonata No. 3, while pursuing original aspects such as a propensity for motivic interrelation and an expanded coda, also incorporates themes repurposed from works of his Bonn period, giving it an impression of being somewhat “makeshift.” However, it is interesting to note that these original elements found in his early works all connect to characteristics unique to Beethoven's later period.