From 1792 to Vienna to 182 (excluding his early works in Bonn), Beethoven established his own style, including 1 piano sonatas, 6 string quartets, 2 symphonies, 2 piano concertos, and the score of the drama Brother Prometheus.

Beethoven's early piano sonatas have traces of the fashionable classical style at that time, reflecting the influence of Haydn and Mozart on him, but they have also revealed his different characteristics and independence. For example, Sonata in C minor (Op.1, 1798), Pathetique in C minor (Op.13, 1798), Moonlight in C sharp minor (Op.27 bis, 1798) and The Tempest in D minor (Op.25, 182). In form, many sonatas (such as the three pieces in Op. 2) have adopted four movements instead of the three movements typical of classical sonatas, and some have replaced minuets with scherzo.

Beethoven's early chamber music creations, such as six string quartets (Op. 18), three piano trio (Op. 1), three violin sonatas (Op. 12), two cello sonatas (Op. 5) and seven stringed woodwinds (Op. 2), were all deeply influenced by Haydn. But some works have also shown his own personality. For example, the theme and rhythm at the beginning of the first movement of the first F major (1799) in Op. 18 are very individual, and they all play a leading role in the whole movement. The frequent and unexpected syntactic transformations (such as the fifth string quartet in A major), unconventional tone sandhi and even the special structural design of this quartet are also very special.

Among the symphonies of this period, Symphony No.1 is the most classical one of all his symphonies, and its four movements can be called the textbooks and examples of classical symphonies in form. Even so, Beethoven still has his own characteristics in dealing with details. For example, scherzo is often used to replace minuet, and the intensity is often followed by weak play (< P). Sometimes the tonality of the introduction of adagio starts from the accessory chord, and so on. The four movements of this symphony are all permeated with a high tone, which reflects the infection of the composer's enthusiasm in the revolutionary era.