The third movement, Presto agitato in 4/4 and C♯ minor, is cast in sonata form. Like the first movement, it relies heavily on arpeggiation, but the fast tempo and continuous 16th-note rhythm create a wholly different affect. As in the first and second movements, a stepwise descending bass recurs throughout, lending unifying continuity to the whole sonata.
Exposition
First Theme
The first-theme motive combines a left-hand leaping figure in 5ths—repeated to create a strong rhythmic punch—with ascending 16th-note arpeggios in the right hand. Over two bars the line climbs piano, and on the last beat we hear forte chordal blows articulated by sforzando eighths. After the two-bar motive repeats three times, the phrase unit shrinks to single bars and accelerates. After two runs of this compressed drive, the music reaches V. The bass line descends stepwise C♯–B♯–B–A–G♯.
Transition
A six-bar transition follows, functioning as a bridge to the coming repeat of the first theme. It extends the post-cadential V from the end of the first-theme span. Through all six bars, the bass holds G♯ as a pedal. An inner voice moves stepwise, while the right hand keeps G♯ in the top voice and moves in 6ths with the inner line. At m. 14 a strong half cadence lands, and the first theme returns.
The first theme is restated literally. In mm. 17–18 diminished-seventh harmony is introduced within the first-theme figuration to vary it and prepare the second theme. From m. 19 the arpeggio rises, does not stop, then flows downward, naturally leading into the second theme.
Second Theme
The second theme begins in G♯ minor, the dominant minor—retaining the minor mode rather than moving to the customary relative major, an unusual choice for a minor-mode sonata exposition. In contrast to the first theme, the left hand now supplies an Alberti-bass 16th-note accompaniment, while the right hand carries a more lyrical, slower-note-value melody. The music turns every four bars:
• first 4 bars—single-line legato is emphasized;
• next 4 bars—octave syncopations and leaping staccatos are foregrounded;
• next 4 bars—half-note values sustain chromatic motion, with sforzandi stressing the downbeats.
Within the second theme a transition-like span appears, akin to what we heard after the first theme. From G♯ minor, a Neapolitan (♭II) is introduced and reinterpreted as I of A major, modulating to A major. The fortissimo hit and the abrupt shift of key heighten the sense of turn. The four-bar unit is repeated once (total 8 bars). The right hand runs stepwise 16ths; the left alternates three bars of chords with one bar of 16ths. A brief half cadence at the 5th bar restarts the phrase from beat 2, displacing the accent by a beat and adding variety.
A two-bar push to a short close follows, reaching a full PAC in G♯ minor. The music then proceeds to the closing theme.
The closing theme continues in G♯ minor, repeating I and V. Both hands are in staccato. We hear two 6-bar periods; the second is an expanded version of the first—same frame, audible differences. In mm. 47–48 the earlier contrary-motion figure (RH down / LH up) returns; in the repeat it inverts (LH down / RH up), renewing the contrary-motion effect.
Beyond figural change there is also dynamic change: unlike the prior continuous piano, here piano and forte alternate every bar, heightening drama. From m. 53 the contrary-motion figure grows not only in direction and register but also in length; after four bars the music arrives at I of G♯ minor and makes a full PAC, then moves to the codetta.
Codetta
The 8-bar codetta prolongs I of G♯ minor. The dotted rhythm and staccato introduced in the second theme are reused. With G♯ held as a pedal, tonic and dominant alternate above. From m. 63 the hands align in the same rhythm and shape—rather than closing emphatically, they prepare the next section. Through the chromatic B–B♯ at mm. 63–64 the harmony returns to C♯ (minor or major), and the music passes either to a repeat of the first theme or to the development.
Development
The development opens by working the first theme, now in C♯ major: the same figuration yields a fresh color. The stepwise descending bass persists. By m. 70 the line naturally modulates to F♯ minor, where the music suddenly turns to second-theme material.
In F♯ minor, the first 4 bars of the second theme sound, then the hands exchange roles and repeat: the left-hand accompaniment moves to the right, while the melody appears in the left.
At m. 78 a D-natural turns the harmony to V of G, and at m. 79 we modulate to G major. The second-theme phrase is replayed in G major. Alternating minor/major statements of the same melody supply variety. The next 4 bars extend the immediately preceding figure. The bass keeps descending stepwise G–F♯–E♯–D–B♯, arriving at C♯. After a brief F♯-minor touch, the music returns to C♯ minor, holds V, and proceeds to the retransition.
Retransition
The bridge to the recapitulation holds us on V of C♯ minor. Except for one bar, G♯ is kept as a pedal in the bass all the way to the recapitulation. Frequent dynamic swells—crescendo/decrescendo—animate the line. After turbulent spans, from m. 99 the texture thins with p / pp long notes, giving the sense of a sudden hush before the recap.
Recapitulation
First Theme
The first theme returns in the home key almost unchanged. The link is omitted, and after a half cadence at m. 115 the music goes directly to the second theme.
Second Theme
As sonata practice dictates, the second theme is now restated in the tonic (C♯ minor); otherwise it proceeds as before.
The transition that had been in A major at the end of the exposition is now recast in D major—the corresponding relation to the C♯-minor second theme of the recap.
The following passage also matches the exposition. After a full PAC in C♯ minor at m. 151, a codetta appears, as before. From m. 157 the harmony shifts—via V of F♯ minor—into a large-scale Coda.
Coda
Coda I begins by cadencing in F♯ minor. The first theme is restated in F♯ minor, and built out to carry the opening portion of the coda. A chromatic sequence follows, reaching V7 of C♯ minor and moving on.
Coda II develops second-theme material. The left hand first states the melody; from m. 171 the right hand takes it in octaves. From m. 175 the figuration becomes fragmented and accelerates; at m. 177, with a forte stop on I of F♯ minor, the right hand launches a descending arpeggio, ushering in Coda III.
Coda III highlights brilliant right-hand motion. From mm. 178–184 the texture is RH arpeggios over LH chords; from m. 185 a chromatically rising scale and a cadenza-like flourish dominate—this is the movement’s most overtly virtuosic writing. The tempo then shifts to Adagio; through long whole-note values the line reaches V of C♯ minor, and the final part follows.
Coda IV (Tempo I): the original tempo returns; motion is fast again. Figures from the earlier codetta (derived from the second theme) reappear. From m. 196 both hands in unison drive a powerful 16th-note surge, and with a fortissimo C♯-minor I chord the movement ends.
The third movement, Presto agitato in 4/4 and C♯ minor, is cast in sonata form. Like the first movement, it relies heavily on arpeggiation, but the fast tempo and continuous 16th-note rhythm create a wholly different affect. As in the first and second movements, a stepwise descending bass recurs throughout, lending unifying continuity to the whole sonata.
Exposition
First Theme
The first-theme motive combines a left-hand leaping figure in 5ths—repeated to create a strong rhythmic punch—with ascending 16th-note arpeggios in the right hand. Over two bars the line climbs piano, and on the last beat we hear forte chordal blows articulated by sforzando eighths. After the two-bar motive repeats three times, the phrase unit shrinks to single bars and accelerates. After two runs of this compressed drive, the music reaches V. The bass line descends stepwise C♯–B♯–B–A–G♯.
Transition
A six-bar transition follows, functioning as a bridge to the coming repeat of the first theme. It extends the post-cadential V from the end of the first-theme span. Through all six bars, the bass holds G♯ as a pedal. An inner voice moves stepwise, while the right hand keeps G♯ in the top voice and moves in 6ths with the inner line. At m. 14 a strong half cadence lands, and the first theme returns.
The first theme is restated literally. In mm. 17–18 diminished-seventh harmony is introduced within the first-theme figuration to vary it and prepare the second theme. From m. 19 the arpeggio rises, does not stop, then flows downward, naturally leading into the second theme.
Second Theme
The second theme begins in G♯ minor, the dominant minor—retaining the minor mode rather than moving to the customary relative major, an unusual choice for a minor-mode sonata exposition. In contrast to the first theme, the left hand now supplies an Alberti-bass 16th-note accompaniment, while the right hand carries a more lyrical, slower-note-value melody. The music turns every four bars:
• first 4 bars—single-line legato is emphasized;
• next 4 bars—octave syncopations and leaping staccatos are foregrounded;
• next 4 bars—half-note values sustain chromatic motion, with sforzandi stressing the downbeats.
Within the second theme a transition-like span appears, akin to what we heard after the first theme. From G♯ minor, a Neapolitan (♭II) is introduced and reinterpreted as I of A major, modulating to A major. The fortissimo hit and the abrupt shift of key heighten the sense of turn. The four-bar unit is repeated once (total 8 bars). The right hand runs stepwise 16ths; the left alternates three bars of chords with one bar of 16ths. A brief half cadence at the 5th bar restarts the phrase from beat 2, displacing the accent by a beat and adding variety.
A two-bar push to a short close follows, reaching a full PAC in G♯ minor. The music then proceeds to the closing theme.
The closing theme continues in G♯ minor, repeating I and V. Both hands are in staccato. We hear two 6-bar periods; the second is an expanded version of the first—same frame, audible differences. In mm. 47–48 the earlier contrary-motion figure (RH down / LH up) returns; in the repeat it inverts (LH down / RH up), renewing the contrary-motion effect.
Beyond figural change there is also dynamic change: unlike the prior continuous piano, here piano and forte alternate every bar, heightening drama. From m. 53 the contrary-motion figure grows not only in direction and register but also in length; after four bars the music arrives at I of G♯ minor and makes a full PAC, then moves to the codetta.
Codetta
The 8-bar codetta prolongs I of G♯ minor. The dotted rhythm and staccato introduced in the second theme are reused. With G♯ held as a pedal, tonic and dominant alternate above. From m. 63 the hands align in the same rhythm and shape—rather than closing emphatically, they prepare the next section. Through the chromatic B–B♯ at mm. 63–64 the harmony returns to C♯ (minor or major), and the music passes either to a repeat of the first theme or to the development.
Development
The development opens by working the first theme, now in C♯ major: the same figuration yields a fresh color. The stepwise descending bass persists. By m. 70 the line naturally modulates to F♯ minor, where the music suddenly turns to second-theme material.
In F♯ minor, the first 4 bars of the second theme sound, then the hands exchange roles and repeat: the left-hand accompaniment moves to the right, while the melody appears in the left.
At m. 78 a D-natural turns the harmony to V of G, and at m. 79 we modulate to G major. The second-theme phrase is replayed in G major. Alternating minor/major statements of the same melody supply variety. The next 4 bars extend the immediately preceding figure. The bass keeps descending stepwise G–F♯–E♯–D–B♯, arriving at C♯. After a brief F♯-minor touch, the music returns to C♯ minor, holds V, and proceeds to the retransition.
Retransition
The bridge to the recapitulation holds us on V of C♯ minor. Except for one bar, G♯ is kept as a pedal in the bass all the way to the recapitulation. Frequent dynamic swells—crescendo/decrescendo—animate the line. After turbulent spans, from m. 99 the texture thins with p / pp long notes, giving the sense of a sudden hush before the recap.
Recapitulation
First Theme
The first theme returns in the home key almost unchanged. The link is omitted, and after a half cadence at m. 115 the music goes directly to the second theme.
Second Theme
As sonata practice dictates, the second theme is now restated in the tonic (C♯ minor); otherwise it proceeds as before.
The transition that had been in A major at the end of the exposition is now recast in D major—the corresponding relation to the C♯-minor second theme of the recap.
The following passage also matches the exposition. After a full PAC in C♯ minor at m. 151, a codetta appears, as before. From m. 157 the harmony shifts—via V of F♯ minor—into a large-scale Coda.
Coda
Coda I begins by cadencing in F♯ minor. The first theme is restated in F♯ minor, and built out to carry the opening portion of the coda. A chromatic sequence follows, reaching V7 of C♯ minor and moving on.
Coda II develops second-theme material. The left hand first states the melody; from m. 171 the right hand takes it in octaves. From m. 175 the figuration becomes fragmented and accelerates; at m. 177, with a forte stop on I of F♯ minor, the right hand launches a descending arpeggio, ushering in Coda III.
Coda III highlights brilliant right-hand motion. From mm. 178–184 the texture is RH arpeggios over LH chords; from m. 185 a chromatically rising scale and a cadenza-like flourish dominate—this is the movement’s most overtly virtuosic writing. The tempo then shifts to Adagio; through long whole-note values the line reaches V of C♯ minor, and the final part follows.
Coda IV (Tempo I): the original tempo returns; motion is fast again. Figures from the earlier codetta (derived from the second theme) reappear. From m. 196 both hands in unison drive a powerful 16th-note surge, and with a fortissimo C♯-minor I chord the movement ends.