The stormy final movement (C♯ minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethoven's (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing.
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."
It is thought that the C-sharp minor sonata, particularly the third movement, was the inspiration for Frédéric Chopin's Fantaisie-Impromptu[10]. The Fantaisie-Impromptu is also in the key of C♯ minor, with a middle section of D♭ major, similar to the three movements of this sonata.
The musical dynamic that predominates in the third movement is in fact piano. It seems that Beethoven's heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the overall dynamic. Within the entire movement there seems to be two themes, with the other melodies simply making up the rest of composition. The first theme consists of bars 6 to 16 which then repeats themselves, with variations, in bars 37 to 47. The second theme lasts from 26 to 30, and like the first theme is then restated in variations, in 51 to 55. In the sonata there is no two bars are exactly the same; all very related but none of them are not an exact match. They may sound similar but however they are completely different. The similar notes that come afterwards are more intense and give more emotion with their embellishments.
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