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The first movement presents a potpourri of short motifs, differing in mood, filled with drastic contrasts and bits of pseudo-anger, all wonderfully employed for comic effect. The development.takes on a more serious tone, though even there Beethoven conceals a joke – probably not lost on the connoisseurs, at whom the sonatas in general were aimed – this development doesn't develop any of the main themes of the exposition! Instead, Beethoven takes the last three notes – the musical equivalent of "that is all" – and builds an entire extended (and even somewhat dramatic) narrative around it. This could also have been a small way of showing off: look, I can take something utterly inconsequential, as far as musical motifs go, and create good music out of it.
A final tongue-in-cheek moment occurs at the end of the development, when everything signals the impeding return of the opening motif.Beethoven does bring it back – but in the wrong key of D major. (You might well think here – what interesting jokes Beethoven had! But any kind of upset expectation can be humorous, if the expectation is widely shared – as this one probably was at the time among the connoisseurs). The D major material goes on for a good several phrases. Then Beethoven stops (), reconsiders () and finally continues in the right key of F major ().
The second movement.changes the mood completely – no jokes or fun-making here. Instead: a hushed, heartfelt narrative, growing at times to outbursts of raw emotion. The middle section () with its reserved D-flat major chords feels more like a containment of strong emotion than a point of relaxed calm. Only at the very end () does Beethoven allow the emotion to take over, finishing the movement in forte.
The finale.brings us sheer fun, a precisely controlled mayhem spun out of a pecking motif based on repeating notes. Beethoven starts out as if it were a fugue – first one voice, then two, then three – but like in the first movement, it's all wrong, at least according to the academic rules: he mixes the order of the entries, putting the third voice before the second. The music merrily rolls from there, generating its own incessant energy, wave after wave. The big climax comes at the point of reprise (), which continues the fugal character, though in fortissimo, and with keyboard-spanning passages in alternating hands. It's tremendously fun to play.