The first movement of Beethoven’s Sonata No. 16, Op. 31, No. 1, is a lively Allegro vivace in G major. Its opening plays with the timing between the hands: a right-hand note arrives before a short left-hand chord, and the following phrases keep interrupting their own flow with rests. Quick descending runs, detached chords, sudden changes of loudness, and frequent exchanges between the hands give this movement its animated character.

Opening idea and transition: The right hand begins high on the keyboard, then descends through a short run. Chordal replies alternate with rests, and the left hand often enters at a different moment from the upper part. The same gesture returns in another register and harmony. As the phrase expands, continuous sixteenth notes pass into both hands, travelling down into the bass and then climbing back toward a forceful arrival. A pause separates this running passage from the return of the opening gesture.

Contrasting themes and repeat: A more regular melody appears above repeated left-hand chords. The melody then moves into the bass while the right hand supplies pairs of moving notes. These exchanges let similar material be heard with a different balance between melody and accompaniment. The closing theme combines a quieter upper line with a moving middle part and gently rocking bass. First and second endings send the player either back through the opening section or onward into the development.

Development and return: The central pages take the short chordal gestures through changing harmonies, then expand the running figures into longer sequences. Both hands move rapidly, sometimes together and sometimes in answering phrases. The texture eventually contracts to repeated upper notes over changing bass chords. Very quiet chords and a slight slowing prepare the return of the main idea. The contrasting themes reappear with altered pitches and register, including the melody in the left hand beneath moving right-hand pairs.

Coda and closing chords: The coda recalls the opening run and the large two-hand passage. After a pause, separated phrases become increasingly quiet. Rests interrupt the exchanges, and a brief increase in volume is followed by short final chords marked softly. The movement ends with the same sense of interruption heard at the beginning.

Interesting fact: The opening’s two hands do not attack their first notes together: the upper note precedes the lower chord by a sixteenth note.