The last sonata of the Op.30 set is a wonderfully joyful work, contrasting with the more dramatic Sonata No.7, Op.30 No.2. It is interesting to note that there are many differences between the manuscript and the first edition, particularly regarding dynamics. Max Rostal writes, in his acclaimed book on the Beethoven violin sonatas, that this may be due to the rapid rate at which Beethoven sometimes composed, often working on multiple pieces simultaneously.

First Movement: Allegro

The first movement begins with both instruments playing the same theme. It is a piece that has sudden changes in character; for example, the first two bars are stormy, while the next two are more innocent. Overall, the movement is full of flow and drive, creating an engaging and dynamic opening.

Second Movement: Andante con moto quasi allegretto

The second movement is relatively long for a second movement, especially compared to the first, which is more concise in both length and structure. This movement is written in a Menuetto form, with Beethoven opting to write out the repetitions instead of using repetition signs. It can be seen as a variation movement, a style in which Beethoven excelled and became unmatched.

Third Movement: Rondo – Allegro

The third movement is one of the most impressive and virtuosic pieces in the Op.30 set. With its very fast theme, initially introduced by the piano and later taken over by the violin, the movement is structured in rondo form. It concludes the Op.30 set in a highly spirited and joyful manner. The inventiveness, such as the modulation in bar 177, surprises the listener, and in combination with the virtuosity, it leaves a lasting impression.