Fourth Movement: E-flat Major, 6/8 Time, Sonata Form

A tarantella-like figural texture pervades the entire movement, suggesting an affinity with the finale of the 'Tempest' Sonata.

While the movement generally adheres to sonata form, it may not be entirely appropriate to strictly fit it into that framework, particularly in terms of the character of its themes and the tonal distribution in the recapitulation.

Exposition

It begins with an unusual metrical structure, an anacrusis of two eighth notes, and a true sense of meter is only established through the accentuation of the main theme appearing in the upper voice. Following a transition featuring a tarantella rhythm (m. 12–) and intermittent repeated Fs (the dominant of the dominant key) (m. 34–), the subordinate theme (m. 42–) appears in the dominant key (B-flat major), but it is absorbed into the accompanying figuration that dominates the entire movement, almost becoming a mere passage. The coda (m. 64–) is based on the tarantella rhythm from the transition and leads to a dominant seventh chord of the tonic key with a fermata.

Development and Recapitulation

The development section (m. 80–) first modulates to G-flat major through the tarantella rhythm. This is reinterpreted enharmonically as F-sharp major, and through arpeggiated chords from which rhythmic elements of the main theme and the repeated notes of the transition are extracted, it modulates sequentially to B minor, C minor, A-flat major, and D-flat major, before the tarantella rhythm returns. Passages from the subordinate theme section appear one after another, and the arpeggiated motive gradually transforms into the accompanying figuration of the main theme.

The recapitulation (m. 174–), thus reached, presents the main theme and then moves to G-flat major in the transition. The subordinate theme is recapitulated in this G-flat major, and does not even hint at the tonic key of E-flat major until it gives way to the parallel minor, E-flat minor, in the coda (m. 239–). Whether this tonal distribution should be considered original within the sonata form is debatable.

This coda is also expanded, with the motive of the main theme appearing alternately in the high and low registers. Despite being interrupted twice by diminished seventh chords with fermatas, the movement concludes with a persistent repetition of this motive.