Description by Robert Cummings [-]

Beethoven began the other two sonatas comprising the Op. 10 group in 1796, but may have
started this work toward the end of 1795. Marked Allegro molto e con brio the first movement
opens with a probing theme, based on a C minor chord, which introduces a questing, questioning
mood, not unlike the opening of the "Pathetique" Sonata. Here, however, the initial tempo is brisk
and the inital utterance appears more direct. However, as the musical discourse unfolds, the
straightforward beginning yields to unexpected developments. For example, in the first theme
group, Beethoven introduces an interesting element: a mysterious descending phrase bringing
what seems as both consolation and triumph. After the initial material is restated, certain
differences become apparent: for instance, the "question" phrase is not followed by an "answer,"
this absence introducing a general feeling of ambiguity and uncertainty. The development section
is unusual, for, despite some expansion of previously stated themes, most of the music here is
new, thereby violating the conventional rules of sonata form. The recapitulation presents an
abridgement of the exposition and an effective transformation of the second theme. In the second
movement (Adagio molto), one hears two themes, the first a flowing melody that becomes
inwardly agitated as it rises, and the latter a somewhat hesitant invention that seems to seek
serenity, but is hampered at times by figurations played by the left hand. The stormy transition
separating the two themes is quite interesting -- seemingly a harbinger of darkness that never
arrives. After the reappearance of the thematic material, in slightly altered form, there is a coda
based on the opening melody. The finale is a vibrant Prestissimo, essentially driven by a mood of
typical Beethovenian anxiety yearning for joy. This movement's first theme is a decidedly ominous
six-note figure, possibly a precursor to the famous "fate" motto of the Fifth Symphony. A variant
of the first, the second theme is nevertheless its opposite in effect, expressing a spirit of joy and
humor. A brief development section leads to a recapitulation, and the movement is completed by
a coda.