The second movement of Beethoven's Sonata No. 13, Op. 27, No. 1 is a quick, compact scherzo marked Allegro molto e vivace. Much of its opening moves in parallel shapes between the hands, with widely spaced notes and recurring accents. A contrasting Trio replaces that restless motion with repeated accompaniment chords, after which the opening material returns in a changed texture.

Opening section: Both hands outline the same short rising and falling idea in different registers. Slurs group the notes into small gestures, while accents give selected arrivals extra weight. The hands move through changes of position together, and frequent clef changes show how the figures travel across the keyboard. First and second endings guide the repeats. The longer continuation develops the same contour through changing harmonies before arriving at the Trio.

Trio: Repeated left-hand chords establish a steady background beneath a simpler upper line. The melody includes held notes, a trill, and descending chordal gestures. A very soft passage shifts the repeated chords into a different harmonic color. The upper part then rises and gathers energy before the section closes. Repeat signs and alternate endings apply to the Trio as well.

Return and coda: The main figure comes back, but the two hands no longer maintain the opening's exact rhythmic alignment throughout. The score places a connected upper line against detached lower notes, making the return sound more unsettled. Accents and changes of register continue into the coda. Strong chords and a brief final gesture end the movement with an instruction to proceed immediately to the Adagio.

Interesting fact: An editorial note in this edition discusses the movement's two-measure groupings, explaining why its accents can make the written 3/4 feel broader than a simple one-bar pulse.