First Movement

This sonata is associated with the legend that Beethoven himself stated it depicted "a certain mentally ill person." The opening is played p (the opening of all movements in this sonata is p). The opening first theme consists of two elements: motive a, formed by a four-note stepwise descent (D-C#-B-A), and motive b, formed by a three-note ascending inversion (C#-D-F#). These two short motives are developed with unparalleled thoroughness throughout all four movements of this sonata. Even in the first movement, the majority of the movement, including the second theme and the short coda, is derived from the former motive a. In the first movement, this is placed anacrustically, creating a rhythmic pulse. Highlights include the whole notes played Tutti-like and ff in various places.

Second Movement

Among Beethoven's early works, this movement possesses outstanding musicality for its depiction of the darkest abysses of the human psyche. Here too, both motive a and motive b appear, but whereas the first movement primarily developed motive a, in this second movement, motive b makes an extremely strong impression from the very beginning. The perfect fourth interval inherent in the three notes of motive b is greatly transformed here (perfect fourth → diminished fourth), and this interval, resisting ascent, suggests a strong psychological sense of confinement. Numerous dissonances, especially diminished seventh chords, are repeatedly played ff, creating the effect of a panic-stricken, escalating cry of the heart. The long coda ascends spirally with hesitation, pleading for help from heaven, but it does not reach revelation. Instead, it sinks back into the abyss with the deep despair conveyed by numerous diminished intervals (diminished fourth, diminished seventh, diminished third).

Third Movement

The revelation that was ultimately not attained in the second movement is brought about at the beginning of this third movement by a liberating ascent of a major sixth following a brief suspension from an anacrusis, and the subsequent motive a. Marked dolce, it is one of the most beautiful transitions of "scene" between the movements of the sonata. Although marked "Menuetto," it is played at a somewhat faster tempo, similar to many of Beethoven's minuet movements, and possesses a character intermediate between a minuet and a scherzo. The Trio is unreservedly bright. As for the motives, it uses the bridging section between a and b, and can be said to depict a very German character: dancing cheerfully for a moment, even while harboring darkness in the heart.

Fourth Movement

In the first movement, motives were presented in the order a → b, but here motive b again comes to the forefront, presented in the order b → a. Motive b here regains its sanity (diminished fourth → perfect fourth), but it still seems unsatisfied, repeatedly posing questions without receiving answers. The nightmare of diminished seventh chords still appears in various places. In this movement, all elements seen throughout the sonata recur, leading to a certain catharsis. However, the piece concludes with suggestions that the "certain mentally ill person" consistently depicted in this sonata did not overcome their illness, but rather accepted coexistence with it.