the A section consists of 2 four-bar phrases, both ending in imperfect authentic cadences. there is dynamic contrast when the 8th measure immediately becomes forte. this section repeats, but i would not call it a period, rather a phrase group. the A section is closed because it starts and ends in the same key.
a similar theme is carried on to the B section, but it is not exactly the same. the familiar motive dabbles in a new key, or several new keys. i would definitely call this section developmental since it elaborates on the exposition section. there is dynamic contrast in this section, too, with "sF"s (i'm too lazy to write out the whole word) and sudden changes from pp to F. the minuetto is simple binary because the first theme is not revisited in its original key.
the A section of this part of beethovens piano sonata is continuous because it ends on a half cadence. this exposition section also consists of two phrases, each four bars long. there is a nice register change (as far as structural phenomena goes) starting in measure 45 when the melody from the soprano line drops to the bass line.
the B section of the trio is rounded, since the A melody is revisited in measure 66. its pretty sweet.