The last three piano sonatas of Beethoven: Op. 109, Op. 110, and Op. 111 were revolutionary during its time in terms of stylistic changes and written almost at the same time in between 1820 to 1821. The piano sonata of the previous generation has less intention to unify sonata into single unity. Nevertheless, Beethoven's late period was influenced by conventional form such as Fugue and Variations, after his study in Arch Rudolph Library, Beethoven's Patron. He also determined to liberate tonal structure of the sonata by exploring remote harmonies. This new innovation of combining the past and present has resulted in greater level of coherence and unity. The purpose of this Thesis is to prove some planned effort by Beethoven to unify multimovement works in his late sonatas. This will be done by analysing each work and movement and to find out what are the elements used by Beethoven to unify these works. Eventually, by analysing and comparing unifying elements used in three works to find its common ground.