As both the drafts and autograph scores are lost, it is difficult to pinpoint the exact date of composition, but it is likely that it was completed in Vienna after Op. 2-1 and Op. 2-2 were finished. All three pieces of Op. 2 are dedicated to his teacher, Haydn, but this No. 3, compared to the previous two works, undeniably gives a somewhat makeshift impression. However, the choice of key for the middle movement and the content of the sonata-form movement, which, despite its awkwardness, shows a commitment to motivic development, strongly foreshadows the Beethoven we know well later. Furthermore, the repeat in the latter half of the first movement is omitted.

First Movement

C major, 4/4 time, Sonata form

Exposition

It begins with a main theme featuring a trill-like figure in parallel thirds. In the latter half of the theme, the accent is shifted to the second beat by sforzando (sf) markings. After the theme is established in the bass voice and a transition via arpeggiated figures, a secondary theme first appears in G minor. Subsequently, another secondary theme is presented in G major (Note). These two secondary themes are borrowed from the Piano Trio, WoO. 36-3, composed during his Bonn period.

After the musical idea of the transition, the development of the main theme's trill-like motive, and a syncopated motive played in octaves, the codetta concludes in the dominant key.

Development + Recapitulation

First, the trill-like motive is repeated, then the arpeggiated figure is repeated, modulating to D major. This arpeggiated figure likely develops the motive from the transition, but the connection is not particularly skillful. The main theme is developed in combination with the syncopated motive created by sforzando.

The trill-like motive is repeated over the dominant chord, leading to the recapitulation. The section corresponding to the establishment of the theme is varied (mm. 147–), and while the syncopated motive in the codetta and the emphasis on syncopation via sforzando markings all derive from material in the exposition, it feels rather awkward. Both secondary themes are recapitulated in C minor/major, but the coda is expanded.

Coda

First, it modulates to A-flat major (the VI degree of the parallel minor) via a deceptive cadence from the dominant chord, then arpeggiated figures unrelated to previous motives are repeated, returning to the C major dominant (second inversion of the I chord), but this is also extended by a cadenza-like passage. The insertion of such a passage over this chord can be considered a written-out cadenza or Eingang, which were habitually played just before the recapitulation or just before the coda.

Considering that Beethoven later wrote down all the cadenzas for his own concertos, it is appropriate to interpret this passage in such a context.

After this cadenza-like passage, the main theme appears once more, concluding the movement similarly to the coda of the exposition.

Second Movement

E major, 2/4 time

The fact that the Adagio second movement is written in E major, contrasting with the C major of the main movement, anticipates Beethoven's later style of constructing tonality through mediant relationships. It is a five-part form where two sections alternate. The form can be diagrammed as [A-B-A-B-A].

The first section features a theme consisting of a motive characterized by dotted rhythms and a motive in a more harmonic texture. The second section, in E minor, unfolds musical ideas in the upper and lower voices against a background of arpeggiated figures. Following the third section, where the opening theme returns, the fourth section presents a shortened version of the musical idea from the second section. In the fifth section, where the opening theme returns again, the theme converges while undergoing slight development.

Third Movement

Similar to the previous work, Op. 2-2, a scherzo is used instead of a minuet. The main section is dominated by a motive with a one-and-a-half-beat anacrusis, creating rhythmic contrast when combined with a motive that marks three beats per measure. This rhythmic mechanism might foreshadow the following 6/8 time finale.

The Trio incorporates a pattern emphasizing the third beat within arpeggiated figures. In the coda after the Da Capo, passages emphasizing chromaticism are repeated. Such music-making could not be achieved in an elegant minuet, and Beethoven's introduction of the scherzo instead of the minuet may have been a necessity stemming from his musical demands.

Fourth Movement

C major, 6/8 time, Rondo-Sonata form

The finale, in rondo-sonata form, begins with a main theme featuring rapidly ascending sixth chords, followed by an ornamental passage placed over harmonies descending sequentially by thirds.

After the presentation of a secondary theme with characteristic arpeggiated rhythms in the dominant key (G major) and the return of the main theme in the tonic key, a new theme is presented in the subdominant key (F major).

This new theme, characterized by chord inversions and sequentially descending chords, can be considered an inversion of the main theme. After this is developed, placed in the bass voice and elsewhere, the piece reaches the coda via the recapitulation of the main theme and secondary theme.

The coda is expanded, and the main theme is developed once more with a long trill, concluding the piece by repeating this motive numerous times.

While the Sonata No. 3 pursues original aspects such as a strong inclination towards motivic interrelation and expanded codas, it also gives a 'makeshift' impression due to the reuse of themes from his Bonn period works. Nevertheless, it is interesting to note that all these original elements found in his early works connect to characteristics unique to Beethoven's later style.

(Note) Sonata-form movements with multiple secondary themes like this can be found in both Mozart and Haydn. Some researchers, misled by the terms 'first theme' and 'second theme' used in discussions of sonata form, engage in debates such as 'which is the true second theme.' However, such concepts emerged in the late 19th century to concisely explain sonata form in music theory. Therefore, there is no reason why Beethoven's sonata form should be limited to only two themes, and both themes here, in major and minor on the same tonic, can be considered 'themes'.