From his boyhood, Beethoven had a familial relationship with the von Breuning family, and was treated as if he were one of their own children. Even after Beethoven left Bonn and moved to Vienna, his close relationship with the von Breuning family continued. Eleonore von Breuning, the dedicatee of this work and later the wife of Franz Gerhard Wegeler, and her younger brother Lorenz, received clavier lessons from their friend Beethoven. Although the specific circumstances of this work's composition are unknown, the fact that Beethoven composed for the Orphica, a rather uncommon instrument owned by Eleonore, may indicate their close friendship.

According to a testimony from 1831, the composition period would be 1796. However, research into the autograph manuscript suggests the possibility of composition in 1798, based on characteristics of the handwriting. If the 1796 theory is true, it would mean that Eleonore already owned an Orphica relatively soon after its invention.

Allegro in C major, 4/4 time

Sonata form. The form is a clear structure, with most of the piece written in phrases consisting of two or four measures. The motives are also simple, and the repetition of the same figuration makes it seem suitable even for practicing basic arpeggios. Although the title was given independently of the composer's intention, it is an easy-to-play piece, generally deserving of the name "Easy Sonata."

On the other hand, each section is given contrasting characteristics, and the piece is designed to have a sense of contrast. For example, focusing on the formal structure, the opening theme is written in four-measure phrases, whereas the subordinate theme (mm. 19–) forms a single unit in two-measure phrases. Regarding motives, the opening theme and subordinate theme are dominated by arpeggiated chords, while, in contrast, the transition (mm. 9–) is characterized by stepwise motion. Furthermore, the development section also exhibits a contrasting structure between its beginning (m. 32) up to measure 49 and the section immediately preceding the recapitulation (mm. 50–54). In the former, after a part of the opening theme is presented in E-flat major and F minor, the bass in the left hand descends scalewise, continuing modulations, while the melody line in the right hand also descends. In contrast, immediately before the recapitulation, both hands change to an ascending motion, with the right hand ascending to the leading tone B of the tonic key (m. 54), preparing for the return of the opening theme in the tonic key. The arpeggiated chords in the right hand also move in opposite directions, descending in the first half and ascending in the second half, enhancing the internal contrast within the development section.

Furthermore, in terms of harmony, care is taken to prevent it from becoming too simple. In addition to the development section mentioned above, for example, in the recapitulation, after the tonic key is established conventionally via the subdominant chord, the sound of A minor is introduced (mm. 83–86). Additionally, before the stable perfect cadence in the tonic key at the end of the piece, in the third and fourth measures from the end, the right-hand chords descend chromatically, adding harmonic color.

Overall, it can be said that while written with a clear formal structure and simple texture, the piece is well-balanced internally to avoid redundancy.

WoO 51 Adagio in F major

Binary form (ABA’B‘).

The first half, Section A (mm. 1–8), like the Allegro, concludes with a perfect cadence in the tonic key (F major) at measure 8, and only after the first phrase is clearly completed formally and harmonically does it move to the next section. Section B (upbeat to m. 8 – m. 17) begins in the relative minor of the tonic key (D minor). Furthermore, upon entering Section B, the arpeggiated chords shift from the left hand to the right hand. Thus, Section B is contrasting to Section A both in terms of tonality and texture. However, D minor lasts for only four measures, quickly modulating to the dominant key of the tonic (C major), preparing for the return of the tonic key.

Although the piece is small in scale, Beethoven creates a short climax just before the return of Section A, similar to what is often seen immediately before the recapitulation in sonata form with a development section. When the C major tonic chord is established in measure 15, the chromatic motion around the C note in the right hand and the restlessly changing dynamics create a tension not present in the preceding sections (mm. 15–16). Then, in measure 17, as if breaking free from the stagnant state on the C note, the right hand ascends diatonically with a crescendo towards the starting note A of Section A's melody. Immediately before, the dynamics drop, and Section A returns p, just like at the beginning of the piece.

The main changes in the second half are that Section B is presented in the tonic key of F major; accordingly, the perfect cadence in measure 8 is omitted, and Section B begins directly from the F major tonic chord (m. 25); and the melody of Section A is more ornamented than in the first half.

The concise texture, the clear formal structure based on multiples of two, and the alternation of arpeggiated chords between the right and left hands, as if for finger exercises, are common with the Allegro in C major, suggesting that the two short pieces might have been written to balance their musical scale and difficulty. Towards the end of the piece, just before finally settling on the tonic chord, the D-flat note adds harmonic color (m. 33), which is very similar to Section B, suggesting that the Allegro and Adagio were conceived as a pair.