Anticipating Beethoven's late style, his Piano Sonata Op. 106, "Hammerklavier," contains distinct passages that serve to suspend formal time (noted by numerous scholars, including Adorno, Dahlhaus, Greene, Kinderman, et al.) and disrupt the forward progress of thematic zones within
a sonata form. In this essay, I tie this suspension of time to a specific formal space introduced by Hepokoski and Darcy (2006)—the "caesura-fill"—which serves as a venue for compositional exploration throughout Beethoven's sonata oeuvre. Because caesura-fill music occurs between
two thematic zones (transition and secondary themes), it has the potential not only for expansion but also for establishing a state of transcendence. In part 1, I investigate the presence of expanded caesura-fill in the exposition of the "Hammerklavier", which enters a transcendental state
and postpones the secondary theme zone; harmonic and textural effects in the music underscore this aesthetic. In part 2, I draw comparisons to early- and middle-period works, most significantly the Eroica Symphony, Op. 55, and the "Archduke" Piano Trio, Op. 97. Finally, in part 3, I
illustrate how the exposition of the "Hammerklavier" provides a script for the development section to again enter a zone of transcendence, using sharp-side keys to postpone and ultimately undermine the recapitulation.