A rapid rondo form in alla breve. Although its episodes recur, making it close to a sonata-rondo form, the rondo theme between the recurring episodes is partially omitted.

The melody of the rondo theme, which continues breathlessly from the beginning of the movement to the cadenza, obliterates the cheerful atmosphere of the second movement. From the initial presentation of the theme to the first episode, the same figuration is repeated in rapid succession, eventually becoming a series of fragmented motives, which likely contributes to the music's sense of urgency.

In individual episodes, musical ideas reminiscent of the preceding movements of Op. 23, as well as characteristics common to other works by Beethoven from this period, can be identified. Specifically, in this rondo theme, for example, a connection to the first movement can be seen in the way the violin sustains the same note, forming a background for the piano, and then increases its motion in the latter part of the phrase. Furthermore, the second episode, where the piano and violin alternate playing notes every half measure, recalls the second movement. The lengthy third episode features a chorale-like theme that is varied as if in a set of variations; here, at the core of the movement, the violin takes the melodic voice first for the first time, confirming the violin's importance, similar to Op. 24, and allowing the melody to stand out with a different timbre from the piano.

Furthermore, elements that abruptly interrupt the musical flow, such as the recitative-like Adagio appearing at the end of the first episode, or the rests that omit the expected harmonic resolution just before the second episode recurs, are characteristic compositional features of Beethoven, also seen in the contemporaneous Piano Sonatas, Op. 31.