The autograph manuscripts for all three Piano Sonatas, Op. 2, are lost, and there is little information to determine their composition dates, other than the fact that their first edition was published by Artaria in Vienna in March 1796. Therefore, this Sonata No. 2, Op. 2-2, was likely composed around the same time as No. 1, Op. 2-1, and No. 3, Op. 2-3, though it is uncertain whether they were composed in numerical order.

First Movement: A Major, 2/4 time, Sonata Form

(Exposition)

The principal theme consists of contrasting motives: a descending leap in three-octave unison and a stepwise ascent. After a reinforcement (mm. 21–) it leads to an improvisatory transition (mm. 32–).

The subordinate theme (mm. 59–) appears in the dominant minor, E minor, and is repeated while ascending by minor thirds. Interspersed with a musical idea in the dominant major, E major (mm. 84–), the previously appeared improvisatory transition reappears, leading to the coda.

(Development + Recapitulation)

After the exposition concludes in E major, a progression of E (single note) → E+G+B (triad) → E+G (double third) is inserted, leading to C major (the mediant of A minor, the parallel minor of A major), which begins the development section (mm. 123–).

First, using the descending leap motive of the principal theme, modulations repeatedly occur through C major, A-flat major, and F minor. Returning to C major, the stepwise ascending motive now appears in F major. The stepwise ascending motive is developed through repeated modulations to D minor, G minor, and F major, and upon shifting to A minor, the parallel minor of the tonic, the dominant is prolonged, preparing for the recapitulation.

The recapitulation (mm. 226–) adheres to the norms of classical sonata form, recapitulating the subordinate theme (mm. 279–) in the tonic (or its parallel minor), and transposing the transition and coda, similar to those in the exposition, to the tonic to conclude the movement.

Second Movement: D Major, 3/4 time

Employing rondo form, this is a slow movement in the style of a string quartet, based on four-part writing.

The first couplet (mm. 19–) modulates to the relative minor, B minor. After the return of the rondo theme (m. 32), the second couplet (mm. 50–) in the tonic D major is presented. However, the next return of the rondo theme (mm. 58–) is in the parallel minor, D minor, and in its return in the tonic (mm. 68–), the register is raised by an octave, and changes are introduced in the inner voices.

Third Movement: A Major, 3/4 time, Scherzo

While the middle movement of No. 1, Op. 2-1, is a Minuet, a Scherzo is used in No. 2. It features a scherzo theme of figurated arpeggios, and the middle section, serving as a trio, becomes Minore, modulating to the parallel minor, A minor.

Fourth Movement: A Major, 4/4 time, Rondo

The rondo theme is characterized by arpeggios spanning a wide range of over three octaves and a descending leap of nearly two octaves, and as indicated by the opening tempo marking, it is indeed a graceful Grazioso theme.

After an improvisatory transition in sixteenth notes (mm. 17–), the first couplet (mm. 27–) appears in the dominant, E major. Upon the return of the rondo theme (mm. 41–), the range of the arpeggios expands to over four octaves.

The second couplet (mm. 57–) modulates to the parallel minor, A minor, combining chromatic ascents in eighth-note triplets with dotted-rhythm chords. Like the first couplet, the second couplet possesses an even more highly thematic character, differing considerably from traditional rondo couplets. The second couplet includes repeat signs and further expands in scope by modulating to the relative major, C major.

In the subsequent return of the rondo theme (mm. 100–), the arpeggios transform into rapid scale ascents, and the individual motives comprising the theme are adorned with delicate ornamentation. A transitional idea leading to the first couplet reappears (mm. 116–), and the first couplet is partially recapitulated in the tonic (mm. 124–).

In the fourth return of the rondo theme (mm. 135–), the arpeggios revert to their initial range, but the musical idea develops, somewhat forcefully introducing the second couplet.

Modulating to B-flat major (the Neapolitan key), after an improvisatory insertion of the second couplet's chromatic ascent and dotted rhythm, the piece concludes after a fifth, conclusive return of the rondo theme (mm. 173–).