I would just like to point out that this thread was started because javacisnotrecognized expressed his dislike of Beethoven and asked for an explanation of what's so good about it (Beethoven's work that is)... and ... iroveashe, a Beethoven fan himself, failed to give a satisfying explanation, much less a reason to like the work.
But why this sonata? I do not particularly like this one. Nor do I love Beethoven, but that is personal preference, and does not mean that the music is bad. Sorry irove, it seems I cannot help much since I only have a copy of the later sonatas, No. 1, No. 5, and Pathetique. Only the recordings and online copies (my eyes would burn!) are available. I may need a few more references... Please forgive and correct any mistakes here; remember that I am just a student of 2 years.
This 1st mvt is very unique, as it does not follow the usual sonata-allegro. But wait, haven't we heard of a sonata starting with a theme and variations before? Mozart did it, in his sonata in A K331! Whether the whole concept is patterned after the Mozart one, I cannot say, at least not so soon as it would require me to analyze two works instead of one! lol!
THEME
It is neither entirely sad nor happy. There is like a theme within this theme, I call it A, followed by a varied A, then another theme B, then A again. A is just one melody with accompaniment, quietly telling its neutral story, but in B another voice enters with his opinion "That's just how it is," A says "uh-huh", and then returns to his seemingly impassioned storytelling. "Once upon a time..."
VAR 1
At first glance, it seems like an etude for rolled arpeggios on the first beat (usually).
Like "sweeping", as in shred guitar. It seems a rather vain attempt of giving more color
to this neutral story, because although the interval leaps of the melody would otherwise give a cheerful effect, the low pitch and p dynamic. The LH melody in the B part reminds me of Chopin's Prelude in Bm, thus seeming to hint at a something sad underneath this vain attempt of seeming happy.
VAR 2
Reminiscent of Albeniz' Leyenda/ Asturias, I did not expect to find this rhythmic pattern in a much older, non-Spanish/flamenco work. But here it is. The rhythm is like jumping, and the melody is in the bass. In Leyenda, which is minor, it gives a feeling of fighting or chase. This variation in a Major key can be taken both ways. It is either fighting the hint of sadness, saying "No, that's not right" or chasing the missing happiness.
VAR 3
With a more dance-y feel, this variation seems to be a cross between a Waltz and a Tango (proabably because I had seen a few Tangos with the 16th-8th-16th pattern). Also, the key has turned finally turned minor. The storyteller seems to be much less hopeful in his fight/ chase, and is now pacing around. Oddly enough, it seems like a dance because of the LH. As if the "countermelody" is trying to follow and comfort the turning-hopeless storyteller... and invite him to dance...?
VAR 4
The more Romantic, Chopin-esque variation is finally here! What's odd is that I can't
pinpoint the Chopin that sounds like it. But it sounds like a dance in major key. The storyteller has accepted the dance!
VAR 5
This reminds me of Mozart's Twinkle Star Variations. Which, contrary to iroveashe, destroys the whole thing for me, because it started so Romantic and ended up so Classical. My memory of Twinkle is so strong that I cannot think of anything else here except, "Twinkle twinkle little star, how I wonder what you are..." in a childlike, cheerful tone. And I guess that's what it means, the composer's way of saying, "And they lived happily ever after. The end."
OVERALL
At first listen, this piece would seem like a vain attempt to make something great with
just a theme (story) and a few variations. But what if that was what the composer has been trying to express all along? LOL! Then this piece is a musical joke, and the joke's on us, who take it too seriously.
Edit: Cut out some useless stuff.