Movement 3: G Major, Alla Breve, Rondo

Although marked Rondo, it is a sonata-style rondo.

The rondo theme (measures 1-16), characterized by polyphonic writing, is marked by a dominant pedal point. The statement of the theme in the bass (from measure 16) is accompanied by ornamental triplet eighth-note figures, which subsequently become the motive for the dominant-key theme.

In the first return of the rondo theme (from measure 66), the accompaniment figuration consists of triplet eighth-note arpeggios. In the second return (from measure 132), after development through repeated modulations, the theme is octave-doubled, and the accompaniment figuration transforms into triplet eighth-note octave tremolos.

In the coda, motives from the rondo theme appear alternately in Adagio and Tempo Primo. Eventually, it becomes Presto, and the movement concludes with the persistent repetition of the opening motive of the rondo theme, accompanied by a long dominant trill over the tonic.

The fantasia-like middle movement and the finale, expanded by rondo-sonata form, seem to be a style inherited from Op. 27 and Op. 28. However, the tempo changes in the finale's coda appear in a more stylized manner in Op. 31 No. 2 (the 'Tempest' Sonata).

Furthermore, the repetition of the main theme a major second below in the first movement, and the choice of a secondary theme a major third above the tonic, certainly foreshadow Op. 53 (the 'Waldstein' Sonata). However, in this sonata, the omission of this characteristic statement and the non-straightforward recapitulation of the secondary theme, among other aspects, leave significant challenges, suggesting that it was still in an experimental stage.