(First Movement) E-flat major, 2/4 time / 2/2 time, Sonata Form

[Introduction + Exposition]

First, a 16-measure introduction (Adagio) is presented. Its opening begins with a motive based on a natural horn figure descending stepwise by thirds (a two-voice progression of major third → perfect fifth → minor sixth), with the words "Le-be-wohl" attached to each note as if lyrics. Following this motive, a motive combining a chromatic descent in the bass voice with an expanding leaping figure (fourth → fifth → sixth) in the soprano voice becomes the foundational motive for the entire movement.

The method of modulation from the dominant to the submediant of the parallel minor (measures 7–8) is also a characteristic feature of this entire work.

The main section (from measure 17) shifts to Allegro in 2/2 time, and the main theme is presented. Beginning with a chromatically descending bass and a leaping fourth motive, this theme, consisting of leaping and stepwise descending figures played in octaves over broad arpeggios, is undeniably a development of the introduction's motive. The nuance of the tonal sound, created by this stepwise descending figure and the lowered sixth degree of the scale that frequently appears from the subsequent transition (from measure 29) onwards, permeates the entire work.

The secondary theme (from measure 35) is presented in the dominant key, B-flat major. First, a combination of ascending and descending stepwise thirds, along with the lowered sixth degree (G-flat) and neighboring tone figures in the inner voices, adds nuance. Following a dynamic variation of the leaping figure and a descending stepwise third motive, a theme combining an expanded form of the descending stepwise third and a neighboring tone figure appears (from measure 50).

The codetta features a motive with a dotted rhythm in the descending figure; when the opening descending third motive reappears with longer note values, the exposition is repeated by a repeat sign.

[Development + Recapitulation]

The development section (from measure 70) imitates the beginning of the exposition's main section, but whereas the main section began on the fourth degree of E-flat major, here it begins on the fifth degree of C minor.

Stepwise descending figures and leaping ascending figures appear alternately, passing through B-flat minor, E-flat minor, and G-flat major before arriving at C minor. A harmonic progression with a descending line in the soprano is combined with a leaping figure in the bass, and the subdominant chord of E-flat major prepares the recapitulation.

The recapitulation (from measure 110) follows traditional sonata form, with both the main theme and secondary theme reappearing in the tonic key of E-flat major; however, the subsequent coda is of a larger scale than the development section.

[Coda]

The coda (from measure 162) begins by imitating the start of the main section, similar to the development, but here the main theme is presented almost entirely in C minor, and a portion of the theme is repeated in E-flat minor.

The descending third motive is treated monophonically, imitatively as if an echo, and gradually harmonized. This gives the impression of witnessing the motive's genesis, almost as if the untold story of the core motive's birth is being recounted retrospectively.

The descending figure continues to resound endlessly, with scale passages appearing and disappearing behind it. When the descending figure reappears as a natural horn figure (from measure 227), it is also imitated like an echo, and the movement closes again with scale passages.

While it is not uncommon for motives to be persistently repeated at the close of Beethoven's compositions, the repetition of figures here, combined with the title "Les Adieux" (Farewell), achieves a unique expression.