In this piano sonata, especially in its first and last two movements, namely the first movement and the fourth movement, Beethoven's strong and unique personality is extremely obvious.

First Movement

The first movement has a concise and compact form and a typical Beethovenian organic development. Its main theme is based on patterned chord tones. Examples of such themes abound in classical works, especially in the works of Beethoven (first movement of Symphony No. 3, first movement of Sonata Op. 57, etc.).

The main part consists of an 8-bar phrase that rests on the dominant chord (half-cadence). The conjunction is also compressed, building on the main material and leading to a dominant chord in the key of parallel major (A flat major). The second theme, which makes frequent use of flat sixths (F flat) in the parallel major key, is stated in the context of an eighth-note progression and is itself similarly concise. It's similar to the main theme, which is great. The second part of Sonata Op. 2, Op. 1, is the same as the first movement of the "Appassionata" sonata, which is a reflection of the first theme (with slight changes). The resolute ending of 8 bars ends the presentation part.

The expansion part is based on the material of the main and minor parts. The dominant duration cycle in classical works is usually at the end of the development part. Here it does not immediately lead to the recapitulation part, but through a short (Measure 6) Connecting section, this connecting section returns to the quarter note progression unique to the main part.

There is almost no difference between the recapitulation and presentation. The main part is p in the presentation part, and f in the recapitulation part (with sf on the downbeat), and the theme of the ending part is slightly expanded.

Second Movement

When playing slow music, pianists always face an almost insurmountable difficulty, and this difficulty is caused by the nature of the piano. After the pianist presses the keys, he can no longer affect the sound that has been produced and is gradually disappearing. Under the condition that there are sound-shaped accompaniments in several other parts, the disappearance of this sound is not so obvious, and under the condition of progress without accompaniment, the struggle to eliminate the "dotted rhythm" of the melody line is very important. It's very difficult for a pianist. The pianist should have an image of the sound of the melody line he plays in his mind, and should imagine that the sound he plays is sung with his voice or drawn with a bow, and connect this sound with the subsequent melody sound. This imaginary control of the sound will help the pianist to deliver the melody lines continuously and vividly to the ears of the listener.

The second movement of this sonata is close to Mozart’s sonata in terms of style and content. This movement is stated in the form of a complex trilogy. The basic theme adopts a two-part form and ends with a complete and complete cessation in the main key. Then there is the short middle section (in the key of D minor), which by its nature is already typical of Beethoven's music. It ends with a perfect cadence in the dominant key (C major). The encore repeats the first theme in variations, and ends with the coda composed of the material in the middle section.

Third Movement

When playing any piece of music, especially a piece in the form of dance music, the performer should clearly feel the pulse of the music. Before we start playing, we should be mentally prepared for a certain rhythm and feel the live pulse of the piece to be played. There should always be movement in our mind, and this sense of movement should not be interrupted either during rest or during long notes.

Fourth Movement

Beethoven’s passionate and intense nature is fully demonstrated in the final movement of this sonata. Such a movement cannot be found in the creations of Haydn or Mozart. . Beethoven's sharp changes in contrasting f and p should be played accurately. Where he has not marked cresc and dim, never use these marks to weaken contrast and sharp changes in dynamics.

The form of this final movement is sonata allegro. The main part modulates to the dominant key (C minor) and goes directly to the minor part. The latter appears in measure 22: after the phrase of measure 12 a new cantabile theme (conclusion) begins, stated in octaves against the background of a left-hand triplet pattern.

The exposition ends with a brief supplement that builds on the main motive.

The development begins with a new theme in the parallel major key (A flat major). The exposition is stated against the background of an eighth-note triplet progression, while the new theme in the development appears against the background of a quarter-note (repeated chord) progression. At the end of the new theme appears the main motive (pp - on a background of eighth note triplets). There is almost no difference between the recapitulation and the exposition. In the recapitulation, the subpart and concluding paragraphs are in the main key (f minor).