Beethoven's later life, sonata form was schematically explained and formalized by theorists such as A. B. Marx (1795-1866) in Germany and France, and A. Reicha (1770-1836), under whom Stamaty studied composition. The emergence of "sonata form" as a prototype provided composers with a stereotypical formal premise. However, composers like F. Liszt (1811-1886) and F. Hiller (1811-1885) introduced new directions for the sonata in the 1850s with single-movement piano sonatas. Meanwhile, Chopin (1810-1849), Stamaty (1811-1870), and S. Thalberg (1812-1871) adopted the classical piano sonata or symphony structure, beginning with a sonata-form Allegro, followed by either or both a slow movement and a scherzo, and concluding with a finale.

In the 19th century, Beethoven's sonatas and symphonies, elevated to the status of models for musical art, particularly served as a paradigm for the latter group of composers. Stamaty's devotion to Beethoven was remarkable, and with his "Sonata No. 1" in F minor, Op. 8 (1843), and the present work, "Grande Sonate" in C minor, Op. 20, he demonstrated his ambition as Beethoven's successor in France.

The "Grande Sonate," Op. 20, possesses a form and content that can justifiably be called a symphony for piano. It adopts a four-movement structure, and each part is meticulously differentiated, as if the orchestration had already been fully conceived in the composer's mind, with main motifs developed in each part. The symphonic scale and depth drawn from the piano are nothing less than the fortunate culmination of a long habit of score reading, research into composition methods, experience conducting orchestras, and the talent of an excellent pianist. Dedicated to King Willem III of the Netherlands (1817-1890).

First Movement: Allegro moderato, con espressione in C minor, 4/4 time

The key is the same as Beethoven's Fifth Symphony, but the second subject is presented in E-flat minor. The recapitulation omits the second subject, which was elaborately treated in the development section, and is presented in a condensed form.

Second Movement: Andante, semplice in A-flat major, 3/4 time

Simplicity and conciseness were conditions of formal beauty that 19th-century artists found in classical works. The simple, chorale-like theme presented under the indication "semplice" (simply) truly embodies the ideal of classical simplicity. The sequence of notes C-D♭-F-E♭ might derive from the famous theme C-D-F-E found in Fux's counterpoint treatise, which Beethoven studied. At the same time, this theme is constructed with the same intervals as, and bears a strong resemblance to, the theme (E-F-A-G) of the second piece in C major from Beethoven's Two Preludes through all twelve major keys for piano or organ, published in 1803. It is plausible that Stamaty, being well-versed in classical music, was familiar with this work. It develops dramatically through free variations of the theme, elevating a sublime religious sentiment.

Third Movement: Scherzo capriccioso, Vivace in C minor, 3/4 time

Compound ternary form. Based on the standard classical scherzo movement structure: main section – trio – main section. The trio, in C major, introduces a new motif of triplets that gleam like brass instruments.

Fourth Movement: Finale, Allegro non troppo in C minor, 2/4 time

A dance-like finale characterized by vivid rhythmic ostinato. It adopts a rondo-like sonata form, introducing and developing a theme in E-flat major in addition to the frequently appearing C minor theme. The cascading Presto coda creates a magnificent effect, befitting the conclusion of this large-scale sonata.