Beethoven’s Violin Sonata No.6 in A major, Op.30 No.1, was written for Emperor Alexander I of Russia. It consists of three movements, with the final movement being a variation movement. Originally, the last movement of the Kreutzer Sonata, Op.47, was intended to be the concluding movement of this sonata, but Beethoven ultimately decided to change it. Interestingly, both the Kreutzer Sonata and this sonata share the same tonality of A major.

First Movement: Allegro

The first movement, marked Allegro, initially presents a somewhat slower character due to its opening. This movement is notable for its more integrated instrumentation and greater coherence between the violin and piano, likely due to its contrapuntal writing. Contrapuntal techniques were not widely used by composers in the Classical era, making this approach stand out. This movement bears a resemblance to the last movement of Beethoven’s Fourth Sonata in its contrapuntal style, though Beethoven still introduces the themes in the piano part, allowing the violin to respond in dialogue.

Second Movement: Adagio molto espressivo

The second movement is an Adagio molto espressivo, similar to the Fifth Sonata. In this movement, the violin carries the main melodic line from the outset, while the piano provides a counter-melody in the left hand. Much of the movement is built upon a dotted rhythmic pattern, though there is a shift in the middle section to a triplet motion, which offers a smoother flow for the main line. Towards the end, the dotted rhythms return, bringing the movement to a satisfying conclusion.

Third Movement: Variation Form

The final movement is written in variation form, a compositional technique that Beethoven favored throughout his career. One of his most famous works in this form is the Diabelli Variations, Op.120, for solo piano, as well as the 32 Variations, WoO.80. This variation movement is lighthearted and consists of a theme followed by five variations, with a great deal of dialogue between the violin and piano. 

From the very first two bars, the piano imitates the rhythm and intervals of the violin’s opening phrase. The first variation features both instruments as soloists, engaging in a playful musical dialogue. In the second variation, the violin takes the lead with a melody, while the piano provides a melodic accompaniment that subtly hints at the counterpoint of the first movement’s opening. The third variation is a piano solo, where the left hand carries the melody while the violin and right hand engage in a combination of dialogue and imitation. The fourth variation focuses on contrast: the violin begins with chords on the downbeats, followed by a melodic phrase from the piano. Although the contrasts are not extreme in terms of dynamics, the dialogue between the instruments remains the central feature. The fifth variation introduces a quasi-fugal texture and recalls the dotted rhythm of the second movement. The final variation and coda shift to a 6/8 time signature, giving the music a dance-like quality. The piano presents the theme, which is then repeated by the violin. The virtuosity and constant musical interaction between the instruments make this movement both a challenge and a pleasure to perform.