No. 2, First Movement: Allegro, 3/4 time, D major

Sonata form. The two half-phrases forming the opening theme (8 [4+4] measures) both consist of a turn figure in the first two measures and stepwise motion (2 measures) in the latter two. The direction of the melody in each motive is reversed between the antecedent and consequent phrases (descending → ascending ⇔ ascending → descending), creating a responsive structure between the two half-phrases. The next phrase begins with a repetition of the theme an octave higher, but the harmony of the consequent phrase temporarily deviates from the tonic D major through chromatic progression, thereby emphasizing the perfect cadence even more. A rapid transition section begins simultaneously with the establishment of the tonic chord. The stepwise descending figure from the end of the theme phrase is used at the end of the transition, suggesting that Wölfl was conscious of internal connections within the movement.

The secondary theme group (from m. 34) begins in the high register, contrary to the opening theme. The 8-measure melody at the beginning of the secondary theme consists of contrasting motives: a third-leap motive (2 measures) and a scale-descending motion after a leap (2 measures). The next phrase consists of an antecedent phrase in f where the right hand repeats arpeggiated triplets, and a lyrical consequent phrase for the piano. This contrasts with the preceding 8 measures, which were constructed in 2-measure units, both in terms of motive and form. Subsequently, the two phrases just presented are varied. In the first phrase, the left hand varies the third-leap motive, while the turn figure of the movement's opening theme is added ornamentally, and the next two measures are transformed into a virtuosic passage. From the second phrase, only the first four measures are used, where the arpeggiated chords are subdivided into 16th notes. The following six measures form a sequence based on the variation of measures 34-35. Then, through a three-measure passage on the dominant and a trill on the dominant seventh chord, a virtuosic gesture establishes A major, closing the exposition. The remainder of the exposition is a codetta that repeatedly uses the movement's opening theme, along with A major cadences and dominant-tonic progressions.

Development Section (from m. 83)

The development section (from m. 83) can almost be described as a slightly modified version of the entire exposition, as each theme and material from the exposition appears in the same order as in the exposition. The first four measures have a structure that combines variations of measures 1-2 and 7-8, followed by a four-measure consequent phrase with new material. These eight measures are immediately repeated with variation, with the parts exchanged between the two hands. When the phrase cadences on the A major tonic, the transition section reappears almost identically to the exposition, except for the extension of the 16th-note arpeggios (the modulation can be interpreted as A minor → [C major →] B minor → [F-sharp minor →] G major, but it seems more natural to interpret it as reaching F-sharp minor through a stepwise ascent from A to F-sharp in the bass, then B minor, and then G major by chromatically shifting C-sharp and A-sharp). Subsequently, the secondary theme group appears in G major. Here, a modulation begins midway through the phrase with triplet arpeggios, reaching the dominant of F-sharp major, a major third above the tonic D major, and the turn figure of the theme is repeated on C-sharp. During this time, the inner voices continue chromatic progression, and the harmony reaches the dominant chord of D major, thereby transforming the sustained C-sharp into the leading tone of the tonic, and the tonic returns through leading-tone progression, leading to the recapitulation.

The recapitulation is generally faithful to the exposition, except for the shortening of the transition section to accommodate the return of the secondary theme in the tonic. However, minor changes from the exposition are observed, such as the motif that was a quarter note at the beginning of the movement being shortened to an eighth note, and the theme's consequent phrase being replaced by the recapitulation of measures 13-16, which directly connect to the transition, instead of measures 5-8.

This movement is repeated by a repeat sign not only in the exposition but also from the development section onwards, up to the part corresponding to the final measure of the exposition in the recapitulation. Afterwards, the coda begins with a diminished seventh chord on F-sharp, a major third above the tonic of the movement, using the chord motive from the final measure of the codetta. The harmonic progression centered on F-sharp was also seen in the exposition, and its reappearance in the coda suggests that Wölfl intentionally scattered it throughout the movement as a key note. The harmony progresses through the cadential chord motive to a double dominant of D major with a fermata, and then returns to the tonic D major chord via the dominant. Subsequently, the secondary theme motive appears imitatively in both hands pianissimo, followed by a sudden ff appearance of the rapid 16th notes from the transition, powerfully closing the movement. The absence of the opening theme's turn figure in the coda is likely due to its extensive use in the development section and elsewhere.

No. 2, Second Movement: Andante, 2/4 time, G major

Variation form. The theme consists of a 16-measure period (8 [aa'] + 8 [ba']), with both the first and second 8-measure sections repeated. The antecedent phrase of the latter 8 measures cadences in B minor, adding harmonic color. In the first variation, the melodic voice is first varied with 32nd-note arpeggios; when the melodic voice returns to its original form from the second measure of the theme melody, the 32nd-note figure then shifts to the accompanying voice. In the first half of the consequent phrase, the chord progression of the theme's right hand is inverted, with the bass voice indicated by the right hand and the upper voice incorporated into the left hand's arpeggios. The latter 8 measures also continue to be ornamented and varied, with parts of the theme melody remaining in their original form accompanied by 32nd notes, and other parts incorporated into 32nd notes.

The second variation is a variation with triplets including interval leaps and dotted rhythms, increasing the sense of dynamism compared to the first variation. It is similar to the second variation in that the melodic voice appears partially exposed and partially as part of the triplets.

In the third variation, the right hand plays 16th-note octave progressions, and the left hand plays 32nd-note arpeggios. The dynamic is forte throughout the variation. This variation forms a climax due to the powerful sound produced by both the octaves and the dynamics, and the consistent rapid rhythm of the 32nd notes. In the latter half, in the last four measures, where both hands present the melody in parallel sixths in the opening theme, the right hand's octaves change to 32nd-note arpeggios.

The coda begins from the second ending bracket that concludes the third variation. In the first nine measures, the tonic G of the movement's main key is almost constantly sounding, but the frequent use of borrowed chords creates harmonic instability, resulting in an even greater sense of stability when the tonic is finally established. Subsequently, the last four measures of the theme are varied and repeated over a G pedal point. Here, too, minor harmonies are mixed in, suggesting that Wölfl was a composer who paid considerable attention to harmonic color. Even in the last four measures of the movement, a perfect cadence is reached after passing through a V-VI deceptive cadence.

No. 2, Third Movement: Rondo. Allegro, 2/4 time, D major

The 8-measure (4+4) rondo theme ends with a half cadence in the antecedent phrase and a perfect cadence in the consequent phrase. Each half-phrase corresponds to the other, with the first two measures being identical, and both sharing the instruction for a turn ornament on the melody on the third beat (incidentally, the turn figure is also a main motif in the themes of the first two movements). The opening 8 measures are immediately repeated, at which point the left hand plays 16th-note arpeggios, and the dynamics change from p to f. Measures 17-27 are an interlude supported by a dominant pedal point, with melodic motives based on the theme. From measure 27, the theme is re-presented, with the antecedent phrase as in the opening, and the consequent phrase accompanied by repeated 16th notes.

The first episode in the dominant key begins with a dialogue between a motive in two-hand unison and a motive derived from the theme melody's turn + repeated note. As often seen in preceding movements, a sequence of new motives is spun out from the end of the motive, leading to a transition to the subsequent section via a stepwise ascent in the bass. As the bass reaches the dominant, the right hand's virtuosic passagework begins. Here, the left hand's accompaniment alternates between low and high registers, creating a change in sonority. When the sextuplet passage shifts to the left hand, the theme melody appears fragmentarily in the right hand, anticipating a return of the theme, but directly connected to the third presentation of the motive, the right hand again changes to sextuplet arpeggios. This passage cadences in A major in measures 68-69 with the theme's cadential motive, followed by a general pause.

Again, the theme melody appears fragmentarily twice in the high register pianissimo, hinting at a theme return, but the harmony shifts from the D major dominant seventh chord to a vi chord (B-flat minor triad), and the theme return is once again postponed. The theme recapitulation begins in measure 80, directly connected to the repetition of the theme's opening measure.

The second episode is in B minor, the submediant key. After the repeat sign, the melodic voice remains in the right hand until the half cadence in measure 123, but in measures 124-127, the texture changes, and a variation of the second episode's opening melodic motive is imitated between both hands. The subsequent harmonic progression is quite ingenious: from the B minor tonic chord to the E major dominant-tonic (first inversion), and then an augmented sixth chord (g1-d1-e#2-b2) is sounded by chromatic progression in the right hand, leading to a B minor cadential cadence.

After the theme is briefly presented again in a shortened form from measure 27 onwards, the third episode begins. The opening consists of a unified phrase of 8 measures: four measures of resolute two-hand chord motives at fz, and four measures comprising a variation of the chord motive and a lyrical cadential gesture. Regarding harmony, the chromatic ascent in the left hand from F-sharp to B recalls the preceding movements. Due to this chromatic progression, the tonality remains somewhat unclear, but as the right hand takes on a lyrical motion, D major becomes definitive, and the music reaches a half cadence on A in measure 147. After a general pause, from measure 148, a rapid passage for the right hand unfolds, showcasing the performer's virtuosity. Harmonically, although minor harmonies are interspersed, the tonic D major is generally maintained. From measure 158, the 16th-note rhythm alternates from the right hand to the left, and from measure 161, the theme melody (the leap in the theme's second measure is changed from ascending to descending) is sounded fragmentarily in the right hand, alternating between high and low registers. From measure 168 onwards, only the leaping motive continues. As often seen in transition sections, in measures 172-177, the right hand ascends chromatically, preparing the final section of the movement. Here, Wölfl employs a device that suddenly shifts the musical flow. Specifically, in measure 178 of the new section, the right hand begins on A2, more than two octaves higher than the preceding C. Such an unexpected shift in register would serve to diversify the sound, clarify the form, and even add wit to the piece. After a half cadence in measure 181, the remainder of the movement closes with a structure very similar to the coda of the first movement: a sequence based on the theme's melodic motive, repetition of the tonic dominant-tonic with right-hand arpeggios and left-hand chordal accompaniment, and a fortissimo tonic chord. The turn figure of the opening theme never appears in the coda, likely because it was sufficiently utilized in the development section and elsewhere.