An exceptionally outstanding work among Beethoven's piano variations, it is affectionately known as the “Prometheus Variations” or “Eroica Variations.” Upon its publication, Beethoven claimed that, along with the Piano Variations Op. 34, he had employed “a truly new manner” in each.

The theme of these variations is also used in three other works by him: the seventh piece of 12 Contredanses for Orchestra, WoO 14; the finale (No. 16) of the ballet The Creatures of Prometheus, Op. 43; and the final movement of Symphony No. 3, “Eroica.” Since the finale of the symphony, where it was last used, is in variation form, a connection to these piano variations has been noted.

A unique aspect of these variations is the placement of an introductory variation and a fugal finale, which frame the theme and 15 variations. Furthermore, it is interesting that the upper voice melody and the bass melody of the theme are treated as independent thematic elements.