Beethoven's Sonata No. 11 in B-flat major, Op. 22, begins with an Allegro con brio built from a compact turning figure, quick scale passages, and a constant exchange between the hands. The right hand often carries the melody, but the left hand supplies much of the movement's running activity and sometimes takes over the opening idea. Short rests, sharply accented chords, and sudden changes between quiet and loud passages give the music its lively character. A substantial middle section leads back to the opening material and the movement's firm final chords.

Opening section: A small group of sixteenth notes curls around the opening pitch before moving into short, detached notes. The idea is repeated and then extended upward. A longer right-hand melody follows over continuous left-hand broken chords. Both hands join in rising scale figures, after which the left hand recalls the opening turn beneath held right-hand notes. Repeated upper chords and a steady bass pulse give the next passage a more emphatic sound.

Contrasting themes and closing material: A quieter melody in longer notes appears above fast left-hand figures. The accompaniment travels through different registers while the right hand alternates single notes, intervals, and chords. Short exchanges with offbeat accents interrupt the longer phrases. Rising runs then lead into a closing idea with repeated bass notes and a melody that reaches into the middle register. The volume falls before accented chords and quick figures bring the section to a clear close.

Middle section: The opening figure passes between the hands. Fragments of the earlier closing material appear with changing harmonies, followed by repeated right-hand runs above widely spaced bass notes. The running pattern gradually moves downward and becomes quieter. Near the end of this section, a persistent right-hand figure continues over low, sustained bass notes before a slowing gesture and a pause prepare the return.

Return and ending: The opening idea reappears softly, followed by the earlier scale passages, chordal writing, and contrasting melody. Familiar material returns in altered registers and harmonies. The final page brings back the repeated bass accompaniment, builds through strong accents, and finishes with short, decisive chords separated by rests.

Interesting fact: The title page of this edition dedicates the sonata to Count von Browne.