No. 1 in E-flat Major, WoO 47-1

This work, which can be considered Beethoven's debut piano sonata, adopts the three-movement structure of slow-fast-slow established by the Mannheim School, showing traces of his teacher Neefe's instruction. (Incidentally, Beethoven's first published work was Nine Variations on a March by Dressler, WoO 63).

Characteristics of the Mannheim School include:

• The supremacy of melody (the concept of basso continuo was no longer present).
• Long crescendos, known as "rocket themes" or "Mannheim rockets."
• Sigh motifs (descending second intervals).
• Dramatic dynamic contrasts (e.g., frequent alternations between forte and piano even in very short intervals).
• Wind writing (especially woodwinds) independent of string instruments.

Their performances swept across Europe, captivating audiences. Mozart was also greatly influenced by the Mannheim School. The perceived similarity between these Electoral Sonatas and Mozart's works is precisely because they share the same roots in the Mannheim School.

First Movement: Allegro cantabile

E-flat major, 4/4 time. The tempo marking "singing Allegro" clearly shows the influence of the Mannheim School (supremacy of melody). The writing of the main theme evokes chamber music for woodwinds, enveloped in a calm and bright atmosphere. The frequent dynamic shifts are likely also an influence from the Mannheim School, but their musical ideas suggest the mischievousness of young Beethoven rather than merely aiming for performance effect.

The subordinate theme, starting from bar 11, is a lyrical melody with an upper mordent and appoggiaturas, truly like the song of a "little bird." The development section (from bar 31) repeats the main theme in the dominant key of B-flat major. At bar 41, a new theme in C minor appears impressively, and after a brilliant arpeggiated transitional passage, the recapitulation of the main theme is omitted, and from bar 56, the subordinate theme is recapitulated in the tonic key of E-flat major.

Second Movement: Andante

B-flat major, 2/4 time. A slow movement.

The main theme incorporates the opening motif of the first movement (an anacrusis with a dotted rhythm ascending a fourth), thus creating a sense of unity between the movements. The subordinate theme is played in the tenor register from bar 13. The development section is a mere six bars long, from bars 31-36, leading to the recapitulation guided by an ornamental passage in the left hand. In the recapitulation, the subordinate theme also returns in the tonic key, so the melody is in the alto register, presenting a softer expression than in the exposition.

Third Movement: Rondo vivace

E-flat major, 6/8 time, Rondo form. It follows the most classical rondo structure, where the main theme (A) is repeated after each of the three episodes (B, C, D) (A-B-A-C-A-D-A). The theme is an eight-bar, light, woodwind-like melody.

The first episode (from bar 9) begins in E-flat major, following the theme, and then modulates to B-flat major in its virtuosic latter half.

The second episode (from bar 45) also begins in the same E-flat major as the theme, but the left-hand octaves have a strong character, and the contrast between forte and piano is vivid.

The cadenza-like right hand (from bar 56) possesses technical brilliance, and the sudden appearance of E-flat minor at bar 63 offers a glimpse into Beethoven's passion, which is striking.

The third episode (from bar 80) is in C minor. This is a key of significant importance to Beethoven, also used in his later Piano Sonata No. 8, "Pathétique," and Symphony No. 5, "Fate."