Upon turning 22, Beethoven moved his base of activity to Vienna in 1792, taking to heart Count Waldstein's encouragement: “Receive Mozart's spirit from Haydn's hands through unceasing diligence.” His debut in the Viennese music scene was not as a composer, but as a pianist. Favored by numerous aristocrats, he frequented halls throughout Vienna while dedicating himself to the study of composition under masters of counterpoint such as Albrechtsberger and Haydn.

This piano sonata was composed by Beethoven during this period as a budding, emerging composer. At this time, he structured his piano sonatas in four movements. This trend continued from the three pieces of his previous work, Op. 2, and can be seen as a confident development of his earlier compositions. There is not yet the sound that would confront the harshness of his later life, era, and music; instead, one sees the figure of a composer contemplating the future.

The first movement is in 6/8 time and sonata form; however, instead of a 6-beat swing feel, the rhythmic precision throughout the movement is provided by the powerful, driving keystrokes of the left hand. The right-hand theme also clearly transforms, guided by rhythm. The second movement, though not yet reaching a mature depth, conveys great elegance. This is followed by the third movement, which features a vivid contrast in sound density between its light and gentle first section and its middle section filled with triplet arpeggios. The fourth movement is a rondo of exceptional inventiveness. It weaves a dialogue between the right and left hands with intricate note values. The movement concludes impressively with arpeggios that gradually subside as if receding waves.

Some argue that piano works from this period still exhibit a certain slowness or exaggeration, indicating they are still in a developmental stage. One would have to wait a while longer for him to become conscious of the process of expressing everything he wished to, and then retaining only what was essential.

At the time of its publication, it was given the popular name “The Beloved Woman.” However, it is said that this name was attached to the music itself, rather than to any private matter of his.