The Violin Sonata No.4 in A minor, Op.23, was composed in 1800-1801 and dedicated to Count Moritz von Fries. It is the first of two sonatas in the set written in a minor key. The texture of the first movement hints at the Kreutzer Sonata, Op.47, which was composed just two years later.

First Movement: Presto

The first movement of the Sonata Op.23 is marked Presto, making it the first time we encounter this tempo in Beethoven’s violin sonatas. The movement often features unison writing between the violin and piano, giving the piece a stormy, dramatic character. The continuous triplet motion leaves no room for rest, while sudden accents heighten the stormy affect. The frequent use of octaves at the end of phrases adds intensity. There is a constant dialogue between the violin and one hand of the piano, while the other hand provides harmonic or rhythmic support. As the development section begins, the stormy mood continues before the piano introduces a major key shift. This interruption is followed by a return to the stormy dialogue, reminding us that the original tension still exists. Eventually, the intensity lessens, but Beethoven halts the musical flow before gradually building tension again with the violin and left-hand piano. The movement culminates in a return to the main theme and a coda that ends suddenly with a piano diminuendo and a fade-out.

Second Movement: Andante scherzoso più Allegretto

The second movement is a long Andante scherzoso più Allegretto, consisting of three main sections. It begins with an innocent theme introduced by the piano, with the violin joining in after eight bars, playing alongside the left hand of the piano. The second section is a fugato, leading into a scherzo — a light, playful section. The third section brings a lively conversation between the two instruments. In the middle of the movement, Beethoven condenses the first theme into a four-bar segment and continues with the fugato theme in changing tonalities. He then breaks the theme into smaller segments, combining them with the initial melody. Throughout this movement, Beethoven works extensively with a dialogue between the violin and piano. In one section, he strips the music down to just the melody, which is passed between the instruments. The movement ends with a return to the “innocent” theme, played by both the violin and right-hand piano, while the left hand provides a calming, sustained accompaniment.

Third Movement: Allegro Molto Alla Breve

The final movement is marked Allegro Molto Alla Breve, in a very quick tempo that gives the feeling of high-speed motion. It is written in Rondo form, as with the previous violin sonatas. The piano introduces the main theme, which is followed by a counter-theme — a style reminiscent of the music of Johann Sebastian Bach. This could reflect Beethoven’s admiration for Bach, having studied his preludes and fugues as a child under his teacher Christian Gottlob Neefe. After eight bars, the violin takes up the main melody, while the piano’s counter-melody, initially in the left hand, shifts to the right hand, doubling the note values to intensify the tempo. The movement is marked by dramatic contrasts and climactic buildups, including unexpected moments of stillness, such as a brief adagio section, which temporarily halts the momentum before the main theme resumes. Beethoven then introduces a segment with whole notes, creating a slow, static feeling, before the violin reintroduces that section, now with a more flowing accompaniment from the piano. The movement builds to a powerful climax, with both instruments playing loud chords and rapid movement, culminating in a shocking chord that ends the sonata. Like the first movement, the piece concludes with a sudden fade-out into silence.