(Second Movement) A-flat Major, 3/4 time, Scherzo

The Scherzo theme, ascending sequentially from A-flat to E-flat, immediately surprises the listener by taking D-natural, which is not a diatonic note of the tonic key, A-flat major. While this stepwise progression might feel like the Lydian mode, this four-measure motive concludes in E-flat major. It is then immediately repeated a fourth higher (from D-flat) to conclude in A-flat major, indicating that the opening began in the dominant key. Such surprising openings for the listener can also be seen at the beginning of Symphony No. 1, composed around the same time. This compositional approach, which can be interpreted as both “playful” and “ambitious,” can be said to be a characteristic aspect of Beethoven during this period.

After the exposition and confirmation of the 16-measure Scherzo theme, the main section (A-flat major) begins, treating the theme developmentally. Note that the initial 16 measures are omitted during the Da Capo.

The Trio is in the subdominant key, D-flat major. While the opening was introduced with a dominant → tonic relationship, the tonal relationship from the Trio to the main section shifts to subdominant → tonic.