Beethoven key motives is the short sequence at the first and second measures after the pick-up and the three repeated G’s in measures three and four, then the sequence from measures five through eight. Measures eight through twelve make use of a sequence again and the high Bb is another trade mark of this motive. Each time another sequence has started, it can be seen as variations of the same idea. Beethoven plays a strong PAC at the end of the opening motive. In the B section, Beethoven makes use of quarter note 6ths in the left hand as the right hand plays runs as a trademark of the B section. Another interesting element is Beethoven draws on a tiny cluster chord, made up of a B and an A, as another staple of the B section. The C section has the hands moving right after one another very quickly giving them no time to rest. The D section is even faster using the same idea but it builds to a new section, thus making this 7 part rondo.
Since this is a 7-part Rondo, there is a lot of repetition throughout the piece. The performer needs to make sure that all the repetition doesn’t get boring. In fact, as we listened to the Russian trumpet player in musicianship today, I noticed how he was grouping his runs. He did them in threes, I think. This attention to detail will prove very affective. For instance in the first runs, you could play them with a crescendo to the top, then reach a forte, then when the runs return you could invert your initial idea. Also when the big motives return, changing your idea of how to play them would do a lot of good for the interest of the piece.