The Violin Sonata No.5 in F major, Op.24, also known as the “Spring Sonata,” is one of Beethoven’s most famous and beloved violin sonatas. Composed around 1800-1801, like the Fourth Sonata, it was dedicated to Count Moritz von Fries. This sonata is the first of Beethoven’s violin sonatas to feature four movements, and in total, he would write three sonatas with four movements. The added movement is a Scherzo, meaning “a joke,” a type of dance that Beethoven began incorporating more frequently in place of the Menuet, which Mozart and Haydn had sometimes used. Beethoven would often transform the Scherzo from a light, playful dance into a movement with intense character.

First Movement: Allegro

The first movement is written in Allegro. It begins with both instruments, where the violin introduces the theme, which is later taken over by the piano after 10 bars. The theme has a pastoral quality, evoking the serene atmosphere found in Beethoven’s Sixth Symphony, Op.68 (“Pastoral”), also in F major. This key, often associated with calm and special atmospheres, underscores the peaceful nature of the opening theme. After this, Beethoven shifts the mood, bringing a more exciting affect in the transition to the second theme. The contrast is marked by sudden changes in dynamics: fortes, pianos, crescendos, diminuendos, and sforzandi. The second theme then leads into a virtuosic melodic line, with both instruments switching back and forth. The development section culminates in long, intense trills, which are eventually combined between both instruments. This leads to a return of the first theme, followed by the reprise and coda. The coda is noteworthy for recalling musical motifs from the beginning of the development and bringing the movement to a conclusion with a dialogue between the left hand of the piano and the violin, echoing the first theme.

Second Movement: Adagio molto espressivo

The second movement is one of the most expressive adagios in Beethoven’s violin-piano sonata repertoire. From a compositional perspective, it can be divided into two parts: one section is very free, with a lack of rhythmic structure, while the other is more rhythmically defined, giving the music a sense of stability and steady pacing. The piano introduces the melody, which the violin takes up after eight bars. The music then transitions into a freer, more fluid section, where the violin and piano engage in a dialogue. Throughout the movement, the atmosphere remains consistent, characterized by an intimate, lyrical quality.

Third Movement: Scherzo (Allegro)

The third movement is a Scherzo, which, like a Minuet, features a contrasting second section marked Trio. The first part of the Scherzo allows for more flexibility in timing, while the second part is rhythmically stricter. This gives the movement a clear contrast between the two sections, with the first part repeated after the Trio, forming an A-B-A structure.

Fourth Movement: Allegro ma non troppo

The fourth movement follows the pattern of earlier violin sonatas, being written in a Rondo form. Marked Allegro ma non troppo, the tempo indication suggests a beginning that should not be too fast, providing a similar atmosphere to the opening of the sonata. The sections between the recurring rondo theme are contrasting and each brings its own distinct character. The movement alternates between lighter, playful sections and more march-like themes, showcasing Beethoven’s ability to capture a wide range of moods and emotions.