No. 2 in F minor, WoO 47-2

This sonata in a deeply melancholic F minor, featuring an introductory section in its opening movement, is not only the most outstanding among the three 'Electoral' Sonatas but also one of the most significant works composed by Beethoven during his Bonn period. While the choice of key might seem peculiar, given the scarcity of minor-key sonatas by Haydn and Mozart, and the complete absence of F minor sonatas among them, it is considered that this was not such an unusual choice for Beethoven, who had become familiar with C. P. E. Bach's keyboard sonatas through his teacher, Neefe.

First Movement: Larghetto maestoso - Allegro assai

F minor, 2/2 time - 4/4 time. After a lamenting arpeggio is played f, a passage follows p, as if murmuring weakly in resignation. Then, over the left hand writhing in the lowest register as if mimicking the depths of the earth, the right hand struggles to ascend but falls back, its efforts unfulfilled. The mere nine-measure introduction is colored by various kinds of despair and terror.

From measure 10, the music becomes Allegro assai, and a torrent of emotions pours forth as if unchained.

The secondary theme (from m. 18) modulates to A-flat major, the relative major.

The development section (from m. 37) begins in A-flat major but quickly darkens to minor, unleashing passionate outbursts. At measure 47, the opening introduction returns (this structural device culminates in the later Piano Sonata 'Pathétique'). Following this, the music returns to a rapid Allegro assai, and both the primary and secondary themes are recapitulated in the tonic F minor.

Second Movement: Andante

A-flat major, 2/4 time. The primary theme is an inversion of the latter half of the first movement's secondary theme (mm. 20-21), indicating a thematic unity between movements in this sonata, similar to No. 1.

The secondary theme (from m. 19) modulates to the dominant, E-flat major, and the right-hand passage is meticulously articulated and adorned with trills. Its intricate craftsmanship is beautiful for a young composer. The development section (from m. 41) develops an inversion of the primary theme in F minor, with a profound 'sigh motif' appearing in the left hand and unsettling repeated notes that evoke deep anguish. In the recapitulation (from m. 61), the primary theme's restatement is omitted, and the secondary theme is recapitulated in the tonic A-flat major, concluding with a coda based on the primary theme.

Third Movement: Presto

F minor, 2/4 time. The primary theme, in unison, evokes an image of someone continuing to walk with tears flowing. Its poignancy stems from its brave and strong demeanor. The 16-measure primary theme, in its subsequent repetition, appears an octave higher with slight melodic variations, accompanied by an Alberti bass in the left hand. The secondary theme (from m. 33) is in A-flat major, followed by a lengthy, 30-measure codetta from measure 45 onwards. Subsequently, the primary theme appears in a varied form, which might mislead one into thinking it's the development section; however, this is the recapitulation, and the development section is omitted. The primary theme, which occupied 32 measures in the exposition (including repetition), is shortened to just 10 measures in the recapitulation. In contrast, the secondary theme and subsequent material are recapitulated in their complete form in F minor.