This work, popularly known as "Pastoral," is believed to have been commenced immediately after the completion of the preceding work, Op. 27-2. The nickname "Pastoral" for this work was given by the Hamburg-based publishing house Kranz, which also named "Appassionata," when they published it in 1838, after the composer's death. Therefore, this title bears no relation to the composer's intention; however, given the tranquil theme over a pedal point in the first movement and the 6/8 meter in the final movement, it can be said that this title succinctly expresses the content of the piece.

(Movement 1) D major, 3/4 time, Sonata form

[Exposition]

The main theme, which begins with the dominant chord of the subdominant key over a tonic pedal point, is presented three times, thereby solidifying its dominance (1st time: mm. 11– / 2nd time: mm. 22– / 3rd time: mm. 29–).

Following the transition (mm. 40–), a musical idea resembling a secondary theme appears from m. 77; however, this is merely a transitional passage to the secondary theme, which properly begins at m. 91, where the dominant key of A major is established. After its presentation (mm. 109–), a codetta based on the main theme's motive follows (mm. 131–).

[Development + Recapitulation]

The motive of the main theme is developed over a G pedal point. It ascends through the circle of fifths: G minor, D minor, A minor, E minor, and finally B minor. As the dominant chord of B minor fades away, the motive from the transition emerges, leading into the recapitulation (mm. 269–).

In the recapitulation, the presentation of the theme (mm. 279–) is slightly varied. Following the transition and the passage to the secondary theme, the secondary theme appears in the tonic key of D major from m. 365. The presentation of the secondary theme (mm. 383–) is also carried out without omission, and in the coda (mm. 407–), the movement concludes with a final reminiscence of the main theme.

(Movement 2) D minor, 2/4 time

This is a slow Andante movement, characterized by a strong contrast between the somber theme in D minor and the bright-sounding theme in D major.

In the D minor section, a harmonized theme first appears over a staccato bass progression, followed by a characteristic theme with a dotted rhythm over a sustained, repeated dominant note (A) (mm. 9–). Subsequently, the initial theme returns, this time played in octaves (mm. 17–). A modulation to D major follows, introducing a theme with dotted rhythms and staccato sixteenth-note triplets (mm. 23–). From m. 39, the music returns to D minor, and the opening theme is recapitulated; however, the section that was merely repeated by a repeat sign in the first half is now decoratively varied and treated developmentally. Finally, the theme from the D major section appears in D minor (mm. 89–), concluding this three-part movement.

(Movement 3) D major, 3/4 time, Scherzo

The Scherzo movement begins with a four-octave descending F-sharp, and is structured around a theme characterized by this descent and a two-note chordal repeated figure. After these two elements appear fused vertically (mm. 33–), the four-octave descending figure, which was a single note at the beginning, now appears as the tonic chord of D major.

In the Trio section, the music modulates to the parallel minor, B minor, introducing a musical idea that contrasts with the fragmented theme of the main section. The movement concludes by returning to the main section via a Da Capo instruction.

(Movement 4) D major, 6/8 time, Rondo

The finale is in rondo-sonata form. The rondo theme is striking, appearing over an ostinato-like figure where the tonic note intermittently appears in the bass. Following a transitional passage of sixteenth-note arpeggios (mm. 17–), a new theme appears in the dominant key of A major (mm. 29–). The rhythm comprising this A major theme is derived from the ostinato figure in the bass voice of the rondo theme. After a transitional passage of sixteenth-note arpeggios and tremolos (mm. 43–), the rondo theme returns (mm. 52–). In the middle section, the ostinato rhythm of the rondo theme's bass voice and the tied rhythm in the upper voice are treated developmentally (mm. 67–).

Following a passage of sixteenth-note arpeggios and tremolos, the rondo theme returns (mm. 114–). From this point, the recapitulation begins, and the previous A major theme appears in the tonic key of D major (mm. 145–).

In the coda (mm. 169–), an ostinato figure first appears pianissimo in the subdominant key of G major; as this is developed and repeated, leading to fortissimo, fragmented arpeggio figures appear. Finally, the tempo increases to Piu Allegro quasi Presto, and a brilliant passage of sixteenth notes unfolds over the rondo theme's bass ostinato, bringing the piece to a close.