Traditionally, this sonata was thought to have been composed concurrently with the Sonata in E major, Op. 14, No. 1, but in recent years, it is believed to have been commenced immediately after the completion of the latter, and finished around the summer of 1799.

First Movement: G major, 2/4, Sonata Form

Exposition

The main theme consists of a characteristic motive of a descending fourth plus an ascending minor second, and a syncopated rhythmic motive. This characteristic motive can also be found in the B major theme of the third movement of Op. 14, No. 1. The theme's statement is omitted; instead, it transitions to the subordinate theme through the repetition of the dominant (D) and an expanded form of the main theme's syncopated rhythm, all accompanied by continuous arpeggiated harmonies.

The subordinate theme (m. 26 ff.), presented in D major, consists of a dotted rhythm and a descending second motive with parallel thirds. The exposition is repeated by a repeat sign.

Development and Recapitulation

The main theme is first treated in G minor, but the subordinate theme soon appears in B-flat major (m. 74 ff.). This is the first instance of the subordinate theme appearing in the development section among Beethoven's early sonatas.

After the repetition of the dotted rhythm, the characteristic motive of the main theme is developed in the lower voice, accompanied by arpeggiated sixteenth-note triplets in the upper voice (m. 81 ff.). The main theme reappears, and the tonality shifts to E-flat major (m. 99 ff.). Following a thirty-second-note scale passage, the ascending minor second motive of the main theme is repeated (m. 115 ff.), leading to the recapitulation.

Both the main and subordinate themes are recapitulated in the tonic key of G major, and the movement concludes with a final reappearance of the main theme.

Second Movement: C major, 2/2, Variations

It consists of a theme of 24 measures (totaling 32 measures, comprising 8 measures without a repeat sign and 12 measures repeated, i.e., 24 measures) and three variations. The introduction of such a variation form would be practiced again in the Funeral Sonata, Op. 26.

The theme is written almost entirely in four voices, characterized by the contrast between staccato and legato. In the first variation (m. 21 ff.), the theme appears in the inner voice, while in the second variation (m. 41 ff.), it appears in the upper voice, syncopated and delayed by a half-beat. In the third variation (m. 65 ff.), the bass line is treated melodically with legato articulation, and the upper voice is arpeggiated. Finally, a 6-measure postlude is appended as a coda.

Third Movement: G major, 3/8, Scherzo (Rondo)

Despite the fast tempo of Allegro assai, the 3/8 time signature, and the designation "Scherzo," the movement is formally a rondo.

The rondo theme consists of a succession of motives ascending by step in thirds. The second theme (m. 23 ff.) appears in the parallel minor, E minor, and has a contrasting character with strong chordal attacks and soft sixteenth-note triplets. After the return of the rondo theme, a new central section (m. 73 ff.) in C major is inserted.

The rondo theme returns again (m. 139 ff.), and this time, the material of the rondo theme is developed to form the coda (m. 175 ff.).

While Beethoven would later expand the coda of sonata-form movements into a "second development section" (attempts to expand the coda in sonata-form movements can already be seen in the first movement of the Sonata in C major, Op. 2, No. 3), it does not seem inappropriate to recognize the later Beethoven in this method of expanding the rondo's coda through motivic development techniques.

With changes in the development section's treatment in the first movement, the introduction of variation form in the second movement, and the expansion of the coda through motivic development techniques in the third movement's rondo, this work actually marks a turning point in Beethoven's history of piano sonata composition.