When one hears the name "Beethoven , several of his more popular piano compositions come to mind. One of these masterpieces is his Piano Sonata No. 14 in C-sharp minor,  Op.  27, No. 2, Quasi una Fantasia completed in the year 1801. While the literal translation of the composition's name is "Sonata almost a Fantasy,  it is more popularly known as "The Moonlight Sonata . This piano sonata was given its more popular name in 1836 by German music critic, Ludwig Rellstab, several years after the death of Beethoven. 1 The inspiration behind this name was when Rellstab visited Lake Balaton in Hungary and described the sonata as reminding him of the moonlight shining over the lake.2 The composition of Op.  27, No. 2 seemed to begin a change or transformation in Beethoven's musical pieces and the beginning of his second stylistic period. This is seen as the beginning of this change because the sonata has more a free form style and, therefore, did not follow the formal style of the classical sonata. It was during this time, the years 1801-1802, that Beethoven also began a difficult period in his life when he realized that he was losing his hearing and a personal inner struggle began which affected his music. His compositions showed a lot of misery and sorrow, but always ended with victory winning the struggle. His music was showing that he was winning the inner struggle with his hearing loss and gaining a better inner hearing by creating some of his most dramatic pieces. Quasi una Fantasia consists of three movements: Adagio Sostenuto, Allegretto, and Presto Agitato, with the first movement being the most well-known. With this particular composition, Beethoven does not follow the arrangement that was customary during that era of fast-slow-fast. Rather, he decided to follow an "end-weighted  trajectory where the fast paced and rapid music is held off until the third movement, Presto Agitato.3 The movement is also written in fast