Sketches for Op. 23 are found in Beethoven's sketchbooks used in the summer of 1800, alongside early musical ideas for Op. 22 and Op. 24. Beethoven's inscription "third sonata" on the sketches for Op. 24 indicates that a set of three pieces was originally planned. Ultimately, Op. 23 was published as a set with Op. 24 by Mollo in Vienna in October 1801. However, by early the following year at the latest, they were separated into individual works and assigned different opus numbers. The reason for their separation is not clear (one proposed reason is the inconsistent format of the part scores, being both portrait and landscape orientation). Nevertheless, the set quickly spread to other locations such as Paris, resulting in continued publication as a set even after individual publication began in Vienna.

Count Fries, to whom the work was dedicated, was an ardent enthusiast, and a piano competition between Beethoven and the pianist Daniel Steibelt took place at the Count's residence. In addition to his banking activities, Count Fries, who managed various businesses, provided Beethoven with significant benefits through his company's communication network for international correspondence, and Beethoven dedicated several other works to him besides this sonata.

First Movement

This movement, marked Presto in 6/8 time and a minor key, creates a spirited atmosphere. The opening theme of the movement begins with four measures of a uniform impression: homophonic, with the piano carrying the melody, and the harmony resting on the tonic A. This is then followed by eight measures where the violin takes on a counter-melody, becoming polyphonic with rapid harmonic changes. This then transitions to parallel motion between the piano and violin... Thanks to these textural changes, the formal divisions in the first half of the exposition are clear. From the secondary theme onwards, the two instruments intertwine more equally, and the frequent use of imitative writing contrasts with the main theme. However, the key does not clearly shift to the usual relative major or parallel major; instead, it largely remains in the minor key, maintaining tension. The strong impact of the brief major-key section appearing at the beginning of the development section is likely due, in part, to this tonal structure from the secondary theme onwards.

The development section is largely constructed by juxtaposing previously presented musical ideas, but its notable aspect is its considerable length of approximately 90 measures. Furthermore, a fermata on the dominant, which suggests the imminent arrival of the recapitulation, appears midway. Consequently, when it becomes clear that the recapitulation does not immediately follow, the development section may feel even longer, creating a sense of anticipation or impatience. The octave expansion of the theme's range in the recapitulation, both upwards and downwards, and its emphasis with fortissimo, also appear as a gesture of heightened emphasis achieved through delay.

One more point to add regarding the form is the repetition of the development section onwards. At least in his minor-key works for string quartet, Op. 18 and Op. 59, Beethoven also indicates the repetition of the development section onwards in the first movement of sonata form.

Second Movement

Sonata form. It begins with a modestly sounding theme characterized by a succession of stepwise motions. From there, it progresses through a majestic fugato, a playful idea centered on neighboring tones, to a light, syncopated melody, and finally to broad arpeggiated figures. The successive appearance of these highly individual themes closely resembles the exposition of the first movement. After a brief development section, where motives from previously presented themes are intertwined, the opening theme melody, initially presented solo in the exposition, reappears accompanied by light ornamentation from the other part. The recapitulation is largely written according to convention, with the original theme occasionally varied ornamentally and the order of instruments carrying the main voice reversed compared to the exposition.

Third Movement

A rapid Rondo form in alla breve. It approaches a sonata-rondo form due to the recurrence of each episode, but the rondo theme between the recurring episodes is partially omitted.

The rondo theme's melody, which continues breathlessly from the beginning of the movement to the cadence, dispels the cheerful atmosphere of the second movement. From the initial presentation of the theme to the first episode, the same melodic figure is reiterated, eventually becoming a succession of fragmented motives, which likely contributes to the music's sense of urgency.

In individual episodes, one can point to musical ideas reminiscent of the preceding movements of Op. 23, as well as characteristics common to Beethoven's other works from this period. Specifically, in this rondo theme, a connection to the first movement can be seen in how the violin sustains the same note, forming a background for the piano, and then increases its motion in the latter part of the phrase. Furthermore, the second episode, where the piano and violin alternate playing notes every half measure, recalls the second movement. The lengthy third episode features a chorale-like theme that is varied as if in a set of variations. Here, at the heart of the movement, the violin takes the melodic voice first for the first time, confirming the violin's importance, similar to Op. 24, and allowing the melody to stand out with a sound distinct from the piano.

Also, elements that abruptly interrupt the musical flow, such as the recitative-like Adagio appearing at the end of the first episode, or the rests that omit the expected harmonic resolution just before the recurrence of the second episode, are characteristic compositional features of Beethoven, also seen in the contemporaneous Piano Sonatas, Op. 31.

Throughout all movements, the piano often takes the lead as the melodic voice during the initial presentation of themes, which contrasts with the subsequent Op. 24, where the violin's prominence is more noticeable. However, the violin is treated as an obbligato instrument requiring high virtuosity, as evidenced by the fugato in the second movement and the virtuosic passage work in the final movement. Perhaps the treatment of the two instruments in the themes was varied to differentiate the character of each piece when they were conceived as a collection alongside Op. 24.