Beethoven’s late style, as noted by Adorno, is characterised by dissociation and fragmentation. This view is overly simplistic (Swinkin 2013), while lyricism, is often neglected despite its frequent presence in Beethoven’s late works (Kerman et al., 1983).

This study adopts a multi-parametrical approach to lyricism, continuity, and contrast in Beethoven’s Op. 132/I. It examines hypermetrical changes and their interaction with texture, melody, and motivic development, illuminating the characteristics of Beethoven’s late style.

This A-minor sonata movement has an unusual structure: the exposition presents the main and subordinate themes in A minor and F major, followed by a short development. The first recap transposes these themes to E minor and C major, and a loose second recap returns to the tonic A minor.

The comparison of two codettas highlights the interplay between lyricism and structural discontinuity through melody and hypermetre. A concise two-bar codetta at the end of the exposition (bars 73-74) is replaced by a five-bar version in the first recap (bars 188-192, 2+2+1), featuring a smoother melodic line that enhances lyricism. However, the hypermetrical structure of the second codetta is interrupted at the start of the second recap, as a two-bar unit is truncated to one bar, disrupting temporal progression and underscoring the structural boundary between the recaps. Thus, melody and hypermetre distinctly manifest lyricism and discontinuity, enriching our understanding of Beethoven's late style.

Another example illustrates how continuity and lyricism are enriched through motivic development, hypermetre, expression markings, and texture. In the second recap, tetrachordal and main theme motives increasingly overlap, while Adagio bars, prominent in the exposition and first recap, are omitted. These adjustments, along with hypermetrical stability, maintain the temporal progression and thus enhance continuity. Meanwhile, balanced interactions among all four voices create a richer texture, complemented by increased espressivo markings in their intimate dialogue, evoking heightened lyricism.

Ultimately, this study demonstrates how diverse musical parameters, such as hypermetre, texture, and melody, embody contrasting stylistic features within Beethoven's late style, including lyricism, continuity, and contrast. Adopting a multi-parametrical approach deepens our understanding of the multifaceted nature of Beethoven's late style, enriching a burgeoning of Beethoven scholarship.