A work full of pathos, similar to Beethoven's other C minor compositions. Connections between movements can be observed in the turn figure of the theme, the beginning of the piano solo, and the bass's second progressions in the outer movements.

The opening eight measures of the first movement contain the melodic line (two turn figures and a descending scale) and harmonic progression (C minor I→IV→I) of the subsequent lyrical passage. From measure 14 onwards, the tonic key is emphasized through repeated cadences.

The secondary theme consists of a staccato melody and a march-like dotted rhythm figure. In the theme's restatement, it progresses to a B-flat minor diminished seventh chord, and simultaneously with its resolution, the left hand begins to move in sixteenth notes. The music gains momentum through ascending scales, wide leaps, and dynamic markings. In the closing theme (m. 52~), the sf on weak beats, the syncopation of the melody, and the layered displacement of the metrical structure due to accent shifts between voices propel the music forward. Even in the cadences, perfect authentic cadences, which would provide harmonic stability, are avoided to maintain momentum, and the dominant chord at the end of the exposition enters the development section without resolution.

In the first half of the development section, the turn figure of the main theme is utilized, while in the second half, the dotted rhythm motive of the secondary theme is employed. From measure 113, accompanied by the violin's descending motive of the theme, the piano's chromatic ascent and arpeggios surge forward, fluctuating in dynamics, heightening tension, and leading to the recapitulation with a cresc. culminating in ff.

In the lengthy coda, thematic material is utilized in the same order as in the development section: first the turn figure, then the dotted rhythm. Notably, the canon of the dotted rhythm motive begins in D-flat major, revealing the composer's interest in the Neapolitan key, a common feature with the coda of the final movement and contemporary works like Op. 29. Subsequently, the piano begins to run in sixteenth notes, and over the piano's chromatic tension, the violin plays the theme an octave higher than at the beginning. The violin's sharp rhythmic leaps and the piano's wide-ranging movement maintain momentum until the cadence at the end of the movement.

Second Movement

The second movement is in ternary form (ABA') with a coda. In section A, borrowed chords and dynamic fluctuations imbue the simple melody with rich emotion. The middle section in A-flat minor creates a mournful atmosphere with half-note chromatic progressions, thinly textured arpeggios, and a funeral march-like dotted rhythm. In A', the accompaniment changes to arpeggios and smooth scales. Beethoven incorporated material from the development section into the recapitulation in Hess 34 from the same period; could this change in accompaniment also be a development of the material from the middle section? The ascending C major scale in the coda can be seen as a heterogeneous element that interrupts the musical flow, characteristic of Beethoven's experimental sonata period, and also as a premonition of the piano's flourish at the end of the movement.

Third Movement

The third movement features extensive interplay between instruments, such as the call-and-response of dotted rhythm motives and the canon in the trio. The metrical structure is also noteworthy. Firstly, both the Scherzo and the Trio contain hemiola. In the Scherzo's middle section, the dotted rhythm on the weak beat shifts to the beginning of the measure, disrupting the sense of meter along with the subsequent sf. In the Trio, as a result of the canon, every beat is marked with sf, creating an exchange of accents, and in the middle section, an eighth-note motive including an auxiliary note transforms the original 3/4 meter into 6/8. Overall, the ingenuity in the metrical structure supports the humorous character.

Final Movement

The final movement is in sonata-rondo form. The unusual harmonic progression (I→VI) in the opening seven measures, and the emergence of a more melodic idea for the first time alongside a stable tonic chord resolution, are reminiscent of the first movement. The secondary theme, in contrast to the opening theme, has a lively character, but shares a common structure of repeated notes and an ornamental figure on the fourth beat.

The second appearance of the theme modulates to C major, followed by the main theme melody, an eighth-note scale in the transition, and a fugue based on the opening second progression. The theme is gradually shortened, becoming a scale that retains only its rhythmic characteristics. The music gains momentum, and after ascending scales in parallel between the left hand and violin across a wide range, the urgency of a three-note scale further increases the drive, and a long dominant chord based on a three-note motive with halved note values prepares the recapitulation.

The Presto in the coda creates a climax through the urgency of the main motive, accelerated bass progression, syncopation, ascending scales, and frequent dynamic changes; its power does not diminish until the final ff descending scales by both instruments at the end of the movement. Finally, the movement concludes with repeated tonic chords, as if releasing excessive energy.