Charles Rosen describes this first sonata in F minor, op. 2 no. 1 as „a homage to Mozart, transported into a new and more violent affective world“. It is an early masterpiece (1795) that shows Beethoven’s strong will, self confidence and sense of purpose as a young adult, but also points forward to the more mature Beethoven. It is an incredibly powerful work, that already expresses the revolutionary character of Beethoven’s work. The development of the first movement (allegro), with  its many sforzandi, subito piano’s, syncopes and its dramatic and driven atmosphere ending in a triumphant fortissimo, already tugs a little at the boundaries of the classical idiom. After the more conventional and slow second movement (adagio), the menuet of the third movement begins sinister and mysteriously because it is so subdued. But with sudden sforzandi on dissonant tones and an unisono fortissimo explosion, Beethoven seems to tell us he has had enough of the gentle stuff. The trio is, after the darkness of the menuet, lighter and contrapuntal. The visionary fourth movement is quite extreme and shocking, although there’s a beautiful lyrical episode. An oasis of lyricism in a dramatic scenery, after which Beethoven returns to the threatening atmosphere and leaves us with no hope.