It has been observed that in the opening theme of the first movement imitated orchestra effect. It has incisive rhythm, chords and triplet arpeggio. It has been shown that the composer decided to emulate the rhythms after the sequence of chords and its subsequent progression of the chord. The melody in the bass line has an increased line of A-B-C-D-E. In these the sections —bars between 1-6 and 7-16, does not have contrast relation like those in any traditional classical sonata. Rather it has a different innovative take on the conventional ideological representation of the music. It has been developed with different kinds of variation instead of following to the conventional ideals. Schubert changed the keys frequently throughout the rendition of the sonata. For example, in bars 32-36, the keys are C major -A flat major- E major- C major- a minor- E major. Finally, it arrives at B major after transposition many times.
The second movement, Andantino (F-sharp minor), presents a lamentation. It is poignant melody that elucidates the sonata’s melancholy. There is an underlying sadness that has been clearly elucidated in these aspects. Like Schubert’s many other slow movements, this Andantino also possesses a dramatic middle section. This movement Andantino has direct connection with a Schubert’s song ‘Pilgerweise’ (D.789). (Music example) The text of the song is soliloquy it shares some of the most inner psychological description of a Pilgrim. Both pieces are in same key and emotion, with same intensified middle-section as contrast.
The fantasia style invades the transition. The transition between the different sections of the music ha scene done so efficiently. On analysis of the pieces it has been found that there is an accompaniment in the first episode that is static. It has a melody that has been shifting constantly between A and G sharp. The motif or the theme is also fragmented that it could hardly be found in the transition passage from bar 68 to bar 158. The climax part in this passage is of high contrast between the severity and the latter phrases. This shows a kind of aesthetics tendency of early Romantic period. The climax ends with chromatic scale in bar 120; with strength varying according to the order of “p-f-ff-fffz”, which is quite rare in Schubert’s other works. Apparently, under the influence of Liszt, sophisticated piano techniques of that time are adopted in this middle section.