The ninth sonata of Beethoven has a reputation among musicians and music lovers for being an extraordinary work. It is undoubtedly the largest of all ten sonatas and serves as the archetype of his middle period composing style. The work was written in 1802, like the three sonatas in Op.30, though it was not published until 1805.

It bears the name “Kreutzer” after the famous violinist Rodolphe Kreutzer, one of the most renowned French violinists of the time. However, Kreutzer was not fond of Beethoven’s compositional style and was unhappy with the dedication. He never performed the work. When the manuscript was later discovered in the Beethoven House in Bonn, it was found that Beethoven had originally changed the dedication to the violinist Bridgetower.

An interesting note about this sonata is that Beethoven initially titled it “Sonata per il Piano-forte ed un Violine obbligato, scritta in uno stile molto concertante, quasi come d’un concerto.” The latter part of the title is especially intriguing, as Beethoven wanted the piece to be “quasi concerto-like,” effectively making it a double concerto without the accompanying orchestra. This shows how Beethoven was increasingly expanding his compositional scope.

One might question whether Beethoven’s description should be taken literally as a “Sonata for piano and violin accompaniment,” as he had dedicated the piece to two violinists. This follows the earlier tradition of describing works as being written for piano and violin, rather than vice versa, which became more common in the Romantic era.

First Movement: Adagio – Presto

The first movement begins with an Adagio introduction in the key of A major. This section is in a quasi-recitative style, and the transition into the fast Presto part creates a stark contrast. The movement is written in classic sonata form, showcasing dazzling virtuosity from both instruments, which was unheard of at the time, particularly for a duo sonata. It is worth noting the pedal markings in this first movement, which are significant in the context of Beethoven’s violin sonatas.

Second Movement: Andante con moto – Variations

The second movement is a slow movement with variations. These variations are written in a virtuosic style, pushing the limits of the soloists and instruments, particularly for the time. The coda of this movement is larger than most of Beethoven’s previous codas, demonstrating his evolving compositional ambition.

Third Movement: Finale – Presto

The third movement is a Tarantella, a typical Italian dance. It was originally written as the last movement of Sonata Op.30 No.1, but Beethoven regarded it as too virtuosic for that sonata and thought it would be perfect for the conclusion of the “Kreutzer” Sonata.