This is a large-scale sonata titled Grande sonate charactéristique (Characteristic Grand Sonata), published in 1802 during Eberl's stay in Russia. Christopher Hogwood, the editor of the score published by Edition HH, identifies a connection to Beethoven's Pathétique Sonata, Op. 13, in the dotted rhythms of the first movement's introduction and the prominent hand-crossing in the main Allegro agitato section.

First Movement: Grave Maestoso 3/4 time, F minor

I. Introduction

It begins with a solemn chord progression including double-dotted rhythms. From measure 5, the right hand spins out a melody supported by a monotonous eighth-note chordal accompaniment. The opening four measures present the fundamental elements of the entire introduction (the ascending third leap and descending stepwise motive that constitute the melody from measure 5 onwards are already present in measures 2-3 of the introduction, and the ascending figure with a turn and the accompaniment rhythm are already present in measure 4). Once the eighth-note rhythm begins, the music proceeds without stability. The tonality shifts from D-flat major to B-flat minor to F minor from measure 5, and both hands gradually shift downwards on the keyboard. From measure 14 onwards, the turn motive in the melody alternates between high and low registers, and harmonically it remains unclear whether it is F minor or C minor, still lacking stability. However, the dominant C of the tonic key is sustained in the bass, preparing a half cadence that connects the introduction to the main section.

II. Exposition: Allegro agitato 2/2 time

1. Main Theme Section

The phrase structure of the opening Allegro theme is a classical typical 8 (4+4) measures, with the consequent phrase ending in a half cadence on the dominant (m. 26). Subsequently, until measure 37, phrases with little formal or motivic relation to each other are juxtaposed. Befitting the agitato tempo marking, the musical content changes restlessly due to shifts in tempo and dynamics.From measure 38, the opening Allegro theme is partially recapitulated in D-flat major. When the music shifts to a B-flat minor harmonic progression in measure 44, it departs from the theme's original phrase structure, and the transition to the subordinate theme group begins. Focusing on the harmony, it is presumed that Eberl ingeniously began the theme's reappearance on F rather than D-flat, creating an ambiguous state regarding the key change from the beginning of the Allegro. This key plan is also likely intentionally correlated with the introduction. From measure 46, a sequence based on a new motive begins in A-flat major, the relative major of the movement's tonic key, typical for a minor-key sonata-form movement. Thereafter, phrases with differing textures appear in rapid succession at short intervals, and only then, with a half cadence on the dominant of A-flat major marked by a fermata in measure 63, does the music achieve a clear articulation.

2. Subordinate Theme Section

The subordinate theme group (from m. 64) shares commonalities with the main theme group in various aspects such as formal structure, motives, and harmony. Formally, it consists of an 8 (4+4) measure phrase followed by phrases of differing lengths or motives (mm. 71-75, mm. 75-81). Then, a phrase similar to the beginning of the subordinate theme group reappears in a key different from the theme (B-flat minor, as opposed to the subordinate theme's A-flat major). This structure is similar to that of the main theme group. However, unlike the main theme group, the theme melody does not reappear here; instead, new music with motives and rhythmic structures common to the subordinate theme continues. Motivically, the ornamental figure consisting of a dotted eighth note and a thirty-second note with a trill (mm. 71-75) and the syncopated rhythm (mm. 75-81) are also common with the main theme. These figures and rhythms also relate to the introduction, thereby connecting the various sections.When the harmony reaches a perfect authentic cadence in A-flat major again (m. 87), the opening Allegro theme reappears. The latter half of the theme is transformed, and a two-measure phrase based on the theme's syncopated motive is repeated, emphasizing the A-flat major tonic chord. In the third repetition, the right hand's rhythm accelerates into triplets, and directly linked to the repeated motive, both hands gradually descend by more than an octave from the high register towards the perfect authentic cadence in m. 101. This acceleration of rhythm, the broad gestures of both hands, the fz accents appearing every other beat alternating with p markings, and the dynamic fluctuations such as the fz shifting from an initially weak beat to a strong beat, all combine to form the climax of the exposition. From measure 102, the opening Allegro theme reappears once more over a sustained A-flat tonic, leading into the codetta.

III. Development

The development section begins on the tonic of A-flat major but immediately modulates to B-flat minor, centered around G-flat, the lowered seventh degree. The entire development section, when divided motivically, consists of five parts, and modulations continue until it returns to the tonic F minor from the aforementioned B-flat minor. In the first part (mm. 119-135), it is based on a leaping figure derived from the codetta and the syncopated rhythmic motive that repeatedly appeared in the exposition. The subsequent 8 (4+4) measure motive (mm. 135-143) is derived from the preceding section in both melody and accompaniment. In the third and fourth parts (mm. 143-148, mm. 148-154), continuous sixteenth-note arpeggios increase the musical momentum. The motive in measures 144 and 146 can be seen as a variation of the motive in measure 30 of the exposition. In the fourth part, an ascending motive from the weak beat to the first beat of the next measure alternates between high and low registers, extending beyond the accompaniment, which is common with the codetta or the first part of the development. In the final part of the development, the right hand moves in a large arc, ascending two octaves and then descending over the dominant of F minor, leading to the reappearance of the opening theme of the Allegro main section.

IV. Recapitulation

The recapitulation (mm. 157-233) is significantly shortened compared to the exposition. This is mainly due to the omission of modulating sections and repeated reappearances of the Allegro's opening theme. The main changes are as follows: The section corresponding to measures 31-37 of the exposition is rewritten into a new phrase, and in the recapitulation, a march-like dotted rhythmic motive is repeated while gradually descending in pitch. Here, dominant and tonic alternate, emphasizing the tonic key of F minor (mm. 171-174 of the recapitulation). The modulating section from measures 37-63, which includes the reappearance of the Allegro's opening theme, is omitted in the recapitulation, and the resolution of the dominant in measure 174 coincides with the beginning of the subordinate theme group's recapitulation in the movement's tonic key of F minor.In the subordinate theme group, the partial recapitulation of the main theme from measure 87 of the exposition and the subsequent two-measure phrase are omitted. In contrast, the descending scale with triplets immediately preceding the exposition's codetta is extended with hand crossing (mm. 97-101 in the exposition, mm. 196-203 in the recapitulation). The codetta is recapitulated largely as before, but the ending section is altered from the exposition. Specifically, the phrase ends not with a perfect authentic cadence but with a deceptive cadence on the VI chord of F minor (m. 217), and a new five-measure phrase is inserted. In this phrase, too, a perfect authentic cadence is avoided (m. 222), and measures 196-199 of the recapitulation are varied and recapitulated over the first inversion of the tonic chord. The subsequent chord progression also follows a cadential pattern in the tonic F minor, but a perfect authentic cadence still does not appear. Finally, in measures 226-227, a chromatic progression from the dominant chord of F minor leads to a diminished seventh chord of the dominant C minor, followed by a fortissimo diminished seventh chord of F minor. After this intense dissonance, the harmonic tension finally resolves, and in measure 329, the music at last moves to a perfect authentic cadence on the tonic chord of the main key. In the remaining five measures, the dominant-tonic progression of the tonic key is repeated as if to reconfirm it, and the movement concludes with a powerful tonic chord.

Second Movement: Andantino 6/8 time, A-flat major

This movement is in ternary form: ||:A:|| B A'. The opening dotted rhythmic motive, or the ascending figure with a turn, serves as the basic motive for the entire movement. The A section (8 [4+4] measures) has its antecedent phrase ending with a half cadence on the dominant of the tonic A-flat major, and its consequent phrase ending with a perfect authentic cadence in the dominant key of E-flat major.In the B section, supported by a sustained E-flat, the opening motive of the movement is repeated with slight alterations to the melodic progression. When the melodic motive shifts to the lower voice, the harmony also modulates to E-flat minor, creating a contrast with the preceding two measures.In the A' section, the opening four measures of the movement are first recapitulated, but here the melody is ornamentally varied. The consequent phrase is significantly altered, ending with a deceptive cadence on the VI degree of F minor. In the subsequent two measures, while the left hand's melodic voice repeats the tonic A-flat, establishing the main key, the right hand's chromatic progression produces D-flat major and A-flat minor sonorities, adding harmonic color. Finally, the melodic voice, now returned to the right hand, descends in range supported by a typical cadential progression, and the dynamics quieten from p to pp, concluding on A-flat', the lowest note in the movement.

Third Movement: FINALE Allegro assai 2/4 time, F minor

This is a very lengthy sonata-form finale, totaling 455 measures. The descending scale serves as a primary motive in various parts of the movement, including the main theme, transition, and subordinate theme.

I. Exposition

1. Main Theme Section

The main theme has an 8 (4+4) measure structure, with the consequent phrase ending in a half cadence. The opening four measures of the theme are immediately repeated forte, with the melody altered to an octave progression, and an interpolative phrase is spun out from the motive of measures 3-4. Here, the harmonic progression deviates to A-flat major once before returning to the tonic F minor, but as if to confirm the return of the tonic, a two-measure phrase based on a typical cadential progression in F minor appears three times consecutively from measure 19 (though the bass voice resolves to the root for the first time in m. 25). The turn figure from F used in this section can also be considered a premonition of the subsequent theme melody (mm. 26-33). From measure 34, the immediately preceding theme is repeated. The consequent phrase is altered, and the harmony shifts to B-flat minor via chromatic progression in the bass. This modulation marks the beginning of a large-scale modulating section. Specifically, after the bass reaches the tonic of B-flat minor (m. 41), a new two-measure phrase is then repeated, alternating dynamics and register, during which the key modulates to E-flat major. Next, a four-measure melody, beginning with a chromatic descending motive reminiscent of the movement's opening theme, appears twice, supported by an Alberti bass (mm. 49-57), followed by a virtuosic passage reminiscent of a piano concerto. This passage enters the subordinate theme melody (m. 67) with a calando-a tempo like a concerto soloist. During this time, from measure 48 onwards, E-flat is sustained in the bass, preparing the A-flat major key of the subordinate theme.

2. Subordinate Theme Section

The opening theme of the subordinate theme group relates to the main theme group through its descending scale motive and ornamental turns, while its slurred legato melodic line, Alberti bass accompaniment, and large sectional structure of 16 (8+8) measures (mm. 67-82) contrast with the movement's opening theme. The theme is immediately repeated, and the end of the phrase is altered, transitioning to the next section.The second part of the subordinate theme group, consisting of four-measure phrases (mm. 97-104) and two-measure sequences (mm. 105-112) that continue without clear cadences, thus lacks a strong thematic formal cohesion. However, this monotonous musical flow is interrupted in measure 113. The descending right hand suddenly turns upwards with triplet arpeggios, then plunges two octaves, displaying dynamic motion, and the harmony, too, features an A-flat minor diminished seventh chord extended over four measures, briefly inserting a dramatic moment. In the subsequent five measures, the harmony gradually returns to A-flat major, and a clear musical articulation, long avoided, appears through the right hand's typical cadential gesture and the bass's ascending fourth. From measure 97 onwards, the section is repeated with the voices exchanged between the hands. At this point, the two-measure sequence is replaced by a different two-measure phrase sequence, and immediately after the four-measure diminished seventh chord, a four-measure dominant seventh chord using the same material is inserted. In the phrase leading to the cadence, the melodic voice returns to the right hand, and this time the melody and harmonic inversion at the end of the phrase are altered, postponing the perfect authentic cadence. Specifically, the leading tone of the melody is left unresolved by a rest, and the bass leaps a seventh from the IV degree (D-flat) instead of ascending a fourth, becoming a repetition of the preceding measure once more. However, this time the melody is emphasized by parallel tenths in both hands, leading to a perfect authentic cadence (m. 153). From measure 153, it is a transitional section to the codetta, and measures 161-168 are a variation of the preceding eight measures.In the codetta (m. 169), the two-measure scale motive from the movement's opening appears a total of eight times, alternating between registers above and below the sustained A-flat tonic. Thereafter, the A-flat major tonic chord to dominant chord progression is repeatedly sounded, ascending in register through chords and ascending arpeggios, and finally, the tonic chord is powerfully presented three times at ff, concluding the exposition.

II. Development

The development section is short, at 60 measures, compared to the exposition and recapitulation. It begins with crisp chord progressions separated by rests, where A-flat major tonic, F minor, and B minor diminished seventh chords are sounded in succession (mm. 193-207). Upon resolving to the B minor tonic, a new section based on the codetta's arpeggiated motive begins, modulating from B minor to G minor to C minor (mm. 207-220). The subsequent section is a sequence of four-measure phrases based on triplet arpeggios (mm. 221-232). The ascending figure appearing in the upper voice can be traced back to the left hand in measures 105-107 of the exposition. Here, the C minor tonic chord is reinterpreted as the dominant chord of the tonic F minor, and the harmony then moves through dominant seventh and ninth chords, tonic, and secondary dominant chords of the tonic F minor. Subsequently, in measures 233-240, the ascending triplet arpeggio motive from measures 113-114 of the exposition is repeated, and in measures 241-249, the descending scale motive from the movement's opening is repeated. The harmony consistently remains on the dominant of F minor throughout these two sections, foreshadowing the imminent arrival of the recapitulation over a long span, both harmonically and motivically. The right hand, which had been alternating the opening theme's scale motive between high and low registers, ascends through a wide range of three octaves and a sixth from measure 249, and the recapitulation begins directly from the ascending final note C''' (m. 252).

III. Recapitulation

In the recapitulation, the music of the exposition is recapitulated almost verbatim, with minor alterations. The main changes are as follows: The transition (mm. 49-66), while retaining the sustained dominant note as in the exposition, is rewritten with new musical material. A motive of repeated notes with dotted rhythm is used here, which is common with measures 171-174 of the first movement's recapitulation. However, it is unclear whether this was a method Eberl habitually favored, or if he intentionally used the dotted motive to create inter-movement connections.The subordinate theme group is also recapitulated with almost no changes, except for the addition of an interpolated phrase in measures 347-350 and an alteration to the melodic progression of the triplet sequence immediately preceding the codetta (from m. 161 in the exposition, from m. 415 in the recapitulation). In the exposition, the latter triplet sequence leads directly into the codetta, but in the recapitulation, the dominant chord is powerfully sounded at ff, interrupting the continuous triplet flow once, and then the codetta begins with the resolution of the chord to the tonic, and the music resumes its legato motion (mm. 421-423). Furthermore, in the recapitulation, the two-measure phrase based on arpeggios is extended by two repetitions (mm. 445-448), and both hands descend to the low register of the bass clef, with the left hand reaching an octave on F', the lowest note in the movement (F'-F). Supported by this sustained low note, the right hand, accelerating to sixteenth notes, rapidly ascends in arpeggios from the A-flat-F chord to F''', then, after a rest, dynamically leaps down three octaves to F, and the tonic is repeated in unison with the left hand, grandly concluding the movement.