This piece was composed by Haydn in his early period for harpsichord. Given its scale and technical demands, it is believed to have been written for amateurs whose skills were not yet highly developed.

First Movement: C Major, 4/4 time, Allegro, Sonata Form

The movement consists of 50 measures in total, with the first half comprising 17 measures and the second half 33 measures.

The theme spans measures 1-7, divided into two parts: measures 1-3 (motive a) and measures 4-7 (motive b). The first part of the theme (motive a) features an ascending arpeggio, while the second part (motive b) consists of two repetitions of a descending minor second, followed by an ascending stepwise progression with an embellishing note.

Measures 8-15 modulate to the dominant key (G major). The section derived from the theme (measures 8-15) is divided into two parts: measures 8-11 (motive c) and measures 12-15 (motive d). In motive c, the arpeggiated figure from the opening theme is reused, accompanied by an Alberti bass, but the lively eighth-note rhythm contrasts with the regular quarter-note rhythm of the opening theme. In motive d, a motive with sixteenth-note embellishing notes is placed in the right hand. Once G major is established with a perfect cadence in measure 15, the same phrase is repeated with a deceptive cadence and a perfect cadence in measures 15-17, forming a codetta.

In the second half of the movement, which begins in G minor, all motives from the exposition (motive a, motive b, motive d, motive c) appear in that order. These motives then lead towards A minor via borrowed chords in D minor. From measure 30, the opening theme is recapitulated in A minor, resolving to the tonic chord of the home key (C major) via borrowed chords. The coda (measures 46-50) repeats a combination of a deceptive cadence and a perfect cadence twice, transposed down an octave.

Second Movement: C Major, 4/4 time, Adagio, Binary Form

The movement consists of 17 measures in total, with the first half comprising 8 measures and the second half 9 measures.

The phrase appearing in measures 1-2 recurs multiple times thereafter, and the decorative figure of sixteenth-note triplets lends grace to the melody.

The opening accompaniment primarily consists of repeated notes forming a major third interval between the tonic and the third. However, as the main melody reaches a high note, it briefly becomes a perfect fourth interval between the root and the fifth of a chord (measure 2, beat 3), before immediately returning to the initial major third repeated pattern. This temporary harmonic change enhances the serene opening of the movement.

Up to measures 11-13, phrases were constructed in even-numbered units, but this section alone forms a phrase with an odd number of measures. Furthermore, borrowed chords are frequently used, and more measures are spent leading to a harmonic cadence. Specifically, the progression from a dominant seventh chord on the IV degree to a IV chord is repeated twice. The repetition of the same arpeggio or repeated notes within measures 11-13 is effective in unifying this phrase and leading to the next motive (spinning out).

Third Movement: C Major, 3/4 time, Menuet-Trio, Ternary Form

The combination of tonic and dominant seventh chord progressions enlivens the moderate tempo of the Menuet. Measures 13-20 are a repetition of measures 1-8, but here, for the first time, a perfect cadence provides a clear conclusion.

In the Trio, sections consisting of a main melody with descending stepwise motion in C minor (measures 21-28, 36-43) enclose a section that progresses from descending stepwise motion in E-flat major to imitative repetition. Incidentally, the fact that this Trio, which is essentially in C minor (E-flat major), is notated with a D minor key signature is due to the traditional “Dorian notation” practice.