This violin sonata is perhaps the most innocent and childlike of Beethoven’s ten violin sonatas. It exudes a playful character, and even the minor second movement can be interpreted through a childlike lens. The final movement, constantly shifting between melodic and rhythmic sections, concludes with a jubilant statement that brings great joy to the listener.

First Movement: Allegro

The first movement is written in a lively 6/8 meter. Initially, the violin seems to serve as a simple accompaniment, but this role is crucial in defining the character of the piece. The piano carries the melody, while both instruments blend effortlessly to create a joyful and playful atmosphere. With accents, diminuendos, and crescendos, one can almost imagine a child mischievously experimenting with sound. The modulations at the start of the second section introduce surprises, but these surprises remain consistent with the overall character of the movement. As a result, this movement has a much simpler structure compared to Beethoven’s other sonatas, staying very basic and straightforward.

Second Movement: Andante

The second movement is marked più tosto Allegretto, making it more lively than a typical Andante. The movement maintains an element of surprise, especially due to the rests that separate the phrases and musical sentences. A playful second theme in a major key contrasts with the earlier minor sections, with a dialogue between the right hand of the piano and the violin. The minor section returns after the major theme finishes, but it is far from identical. The parts of both the violin and piano undergo subtle changes. The movement evokes a slow movement in the style of Mozart, such as those in his Piano Sonata in F Major, K.332, with its intricate embellishments. It concludes with a nod to the major section, now transposed into minor, maintaining the same dialogue and rhythmic patterns.

Third Movement: Allegro piacévole

The final movement of the second sonata is marked Allegro piacévole, meaning “pleasant” or “cheerful.” Much like the last movement of the first sonata, this piece is full of playful rhythmic accents that are placed off the main beats, giving the beautiful melodies a light-hearted quality. Beethoven alternates between melodic and more rhythmical sections, creating contrasts between the two. Sometimes, both instruments double each other, enhancing the melodic nature of the music. The movement’s drive is often generated by the accompanying figures, which are mostly found in the piano part, helping to propel the flow of the piece. To add even more playfulness, Beethoven introduces a six-bar hemiola, creating a temporary shift in meter, but the final cadence returns to the original 3/4 meter, restoring the normal rhythmic feel.