The genre of sonata became a relic of the past in the 19th century, and opportunities for its composition became very scarce. However, in the mid-19th century, as "eternal value" began to be recognized in the works of past "masters," a re-evaluation of this genre commenced, and contemporary pianist-composers started to compose sonatas as "modern classics." Stamaty's Op. 8 is a work from a period when French pianists began to approach classical genres, moving beyond nocturnes and etudes. Considering Stamaty's early inclination towards classical music, it is likely not incorrect to assume that he was conscious of Beethoven, particularly the "Appassionata Sonata" in this work. Indeed, there are many points of agreement between the two, such as the tonal plan of each movement and the slow movement's construction with a chordal theme and its variations. While contemporary composers, accustomed to long, vocal-like themes, often struggled with Beethovenian motivic development in sonatas, Stamaty achieved dramatic development by employing rhythmic themes. It can be positioned among the outstanding piano sonatas of the 19th century, alongside his Op. 20. Dedicated to François Benoist (1794-1878), professor of organ at the Conservatoire and his composition advisor.