Editing Piano Sonata No. 14 (Beethoven) (section)

===III. Presto agitato===
:<score sound="1" lang="lilypond">
\new PianoStaff <<
  \new Staff = "right" \with {
    midiInstrument = "acoustic grand"
  } \relative c'' { \set Score.tempoHideNote = ##t \tempo "Presto agitato" 4=160
  
    \key cis \minor
    \time 4/4
    %1
      s2\p cis,16 e, \[ gis cis e gis, cis e \] \bar ".|:" 
      gis cis, e gis cis e, \[ gis cis e gis, cis e \] <gis, cis e gis>8\sfz-. <gis cis e gis>-.
    %2
      s2. dis16 gis, bis dis
    %3    
      gis bis, dis gis bis dis, gis bis dis gis, bis dis <gis, bis dis gis>8-.\sfz <gis bis dis gis>-.
  }
  \new Staff = "left" \with {
    midiInstrument = "acoustic grand"
  } {
    \clef bass \relative c' {
      \key cis \minor
      \time 4/4
      \tempo "Presto agitato." 
      % impossible d'afficher le premier ! 
      %1
        << { \[ r16 gis,16 cis e \] gis16 cis, e gis s2 } \\ { cis,,8-. gis'-.  cis,-. gis'-. cis,-. gis'-. cis,-. gis'-.}>> \stemDown \bar ".|:"
      %2
        cis, gis' cis, gis' cis, gis' <cis, cis'>\sfz gis'
      %3
        <<{r16 gis bis dis gis bis, dis gis bis dis, gis bis s4}\\{bis,,8 gis' bis, gis' bis, gis' bis, gis'}>>
        bis, gis' bis, gis' bis, gis' <bis, bis'>\sfz gis'
    }
  }
>>
\midi { }
</score>
The stormy final movement (C{{music|sharp}} minor), in sonata form and [[common time]], is the weightiest of the three, reflecting an experiment of Beethoven's (also carried out in the companion sonata [[Piano Sonata No. 13 (Beethoven)|Opus 27, No. 1]] and later on in [[Piano Sonata No. 28 (Beethoven)|Opus 101]]), namely, placement of the most important movement of the sonata last. The writing has many fast [[arpeggio]]s/broken chords, strongly accented notes, and fast [[alberti bass]] sequences that fall both into the right and left hands at various times. An effective performance of this movement demands lively, skillful playing and great stamina, and is significantly more demanding technically than the 1st and 2nd movements.

Of the final movement, [[Charles Rosen]] has written "it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing".<ref name="Rosen" />

Beethoven's heavy use of ''[[dynamics (music)|sforzando]] (sfz)'' notes, together with just a few strategically located ''[[dynamics (music)|fortissimo]] (ff)'' passages, creates the sense of a very powerful sound in spite of the predominance of ''[[dynamics (music)|piano]] (p)'' markings throughout.
[[File:Manuscript of the Piano Sonata No. 14 in C-sharp minor Op.27-2 by Beethoven (trimmed).pdf|thumb|Autograph score; the first page has evidently been lost|upright=1.2]]