This thesis examines the late compositional language of Ludwig van Beethoven (1770–1827), which differs significantly from his early and middle-period styles, demonstrating distinctive techniques and profound musical depth. Focusing on the Piano Sonata in E major, Op. 109, this study identifies three defining characteristics: first, the dissolution of traditional sonata form; second, the revival of older compositional techniques such as counterpoint and fugue; and third, the creation of a new musical language through the use of German expressive markings and an intensified lyrical sensibility.

This thesis is divided into four chapters. Chapter One serves as the introduction, outlining the research motivation, objectives, scope, and methodology. Chapter Two defines Beethoven’s late period and explores its stylistic features. Chapter Three presents a detailed musical analysis of the work. Chapter Four discusses performance interpretation, focusing on performance approaches and the expressive intentions conveyed in the piece.