it passes through a great climax and ends in the tonic key, when the retransition is heard and the development section ends. The recapitulation starts in the tonic like the exposition. However, instead of being in F major and C major, this time the theme modulates through more keys and is more extended. The recapitulation ends in F minor, the parallel minor of the tonic, in which bouncy but suspenseful syncopated notes are heard between both hands. The piece becomes more agitated in the faster coda, in F major, keeping a forward motion till the end. General Analysis The Sonata is remarkable in its concision, a precursor in some ways to the Sonata in E major, Opus 109. The two movements present opposite faces on many levels: In tempo: the first movement is relaxed, the second, agitated. In meter: the first movement is in triple time, the second, double time. In rhetoric: the first movement is improvisatory and wandering in its unfolding, the second is a relentless moto perpetuo. In thematic material: the first movement develops two distinct themes, the second develops one thematic idea. In harmonic development: the first movement follows a classic tonic/dominant schema, the second includes abrupt harmonic shifts. Donald Tovey writes: References Further reading Frohlich, Martha (Winter 2001). "Beethoven's Piano Sonata in F Major Op. 54, Second Movement: The Final Version and Sketches." The Journal of Musicology, vol. 18, no. 1, pp. 98-128. External links A lecture by András Schiff on Beethoven's Piano Sonata Op. 54 For a public domain recording of this sonata visit Musopen Recording by Paavali Jumppanen, piano from the Isabella Stewart Gardner Museum Beethoven - Piano Sonata Op. 54, second movement (Allegretto) - pre-romantic reconstruction by Georges Kan Piano Sonata 22 1804 compositions Compositions in F major