The first of the three violin and piano sonatas, Op.12, was composed in 1797 for Anton Salieri, from whom Beethoven had received informal lessons. The extent of Salieri’s influence on Beethoven is debatable. When Salieri critiqued Beethoven’s only opera, Fidelio, Beethoven became very insulted and remained angry with him for many months.

This sonata has three movements, and it is worth noting that it begins similarly to Mozart’s Violin Sonata in E-flat Major, K. 302. It is uncertain whether Beethoven was familiar with Mozart’s work, but it is likely that the Classical style, where composers occasionally wrote introductory bars before the first melody, influenced both pieces. The key difference is that in Beethoven’s sonata, the violin plays in unison with the piano, whereas in Mozart’s, the violin serves more as an accompaniment to the piano’s melody. After the opening passage in both instruments, Beethoven gives the main melody to the violin, which is later swapped between the two instruments. In Mozart’s K. 302, the piano first presents the main melody, followed by the violin repeating it.

First Movement: Allegro con Brio

The first movement, written in Allegro con Brio and in sonata form, is in D major. As mentioned, it begins with a four-bar introduction for both instruments, with a countermelody in the piano. This opening creates a striking contrast with the first main melody, which then evolves into a highly virtuosic second theme. Within this virtuosity, Beethoven crafts a musical dialogue between the violin and the piano. After the second theme, Beethoven combines elements from both themes. In the middle section, Beethoven alters the piano figure and creates a slower, flowing passage with arpeggiated chords, allowing the violin to explore its melodic line. This section, in contrast to the virtuosity of the second theme, recalls the direction and mood of the first theme. 

Before the development, the first section concludes with an exciting display of virtuosity between both instruments, blending them seamlessly. The middle section begins by repeating a phrase near the end of the A section. A theme that was originally declarative is now presented in a comical light due to the soft dynamic markings. The first theme returns, continuing its development and modulation, leading to a rhythmic figure in the piano that mirrors the introduction. This brings the movement back to the second A section, which is musically identical to the opening.

Second Movement: Tema con variazioni

The second movement is a Tema con variazioni in A major, beginning with the piano introducing the theme, followed by the violin repeating it. The second counter-theme is similarly echoed by both instruments, with the accompaniment taking a different form by doubling the melody. The first theme is incredibly lyrical, while the second theme is more static, complementing the first well.

The first variation presents a cantabile quality, with the piano allowed greater freedom, as the violin part primarily serves as a supporting line with occasional small accents. In the second variation, the violin takes the spotlight, with the piano providing harmonic support. The third variation is the only one in a minor key, creating a dramatic and tense atmosphere, with both instruments playing equal parts. This variation is also the longest in the movement.

After this, the final variation presents a serene contrast to the previous variation. Both instruments share equal importance in this calm section, which leads into a coda where the violin and piano engage in a beautiful dialogue, both hands of the piano being involved.

Third Movement: Rondo

The final movement is a Rondo, written in a tempo that evokes the feel of a lively dance. Returning to the original key of D major, the movement is filled with virtuosic lines for both instruments. The fun lies in the off-beat accents, which add an unexpected twist to the rhythmic structure. The two fermatas in the movement provide a brief moment of respite, allowing both performers and listeners to catch their breath. 

The middle section is more cantabile, referencing earlier material while offering a strong contrast. Beethoven writes a quick scale for the piano at the end, returning to the main Rondo theme and reiterating the ideas from earlier in the movement. The coda becomes a conversation between the instruments, creating a sense of musical uncertainty before finishing abruptly with a strong final statement.