It was ten years after the “Kreutzer” Sonata that Beethoven composed his 10th and final violin sonata. Although sketched in 1812, it wasn’t until 1816 that the first edition was published. The sonata was first performed on December 29, 1812, by Beethoven’s pupil and good friend, Archduke Rudolph (who took the piano part), alongside the violinist Pierre Rode. The piece was dedicated to the Archduke.

This sonata was written at the transitional point between Beethoven’s second and third periods. In this period, Beethoven shifted from a virtuosic style to a more philosophical and intimate approach. When looking at other works from this time, such as the seventh and eighth symphonies, one can see the presence of pastoral moods in each of them. Not long after composing these pieces, Beethoven experienced emotional turmoil that led to a temporary creative halt. 

In this sonata, the violin and piano are fully integrated as one instrument, more so than in any other sonata in the set. The ongoing dialogue between the instruments is more fragmented, making communication between them even more essential. This piece is often seen as one of the most lyrical in the set, with an exceptional level of subtlety.

It is one of the three sonatas in the set that has four movements, the others being the fifth and seventh.

First Movement: Allegretto

The first movement begins with a small motive—a trill played by the violin—that recurs throughout the entire piece. After the violin introduces it, the piano takes over the theme, and both instruments blend seamlessly throughout the movement. The character of this movement is dreamlike, and it hints at a ‘Schubertian’ style of composing. Notably, Beethoven revised the trills in the coda in 1815, while preparing the piece for publication. This movement is distinctly different from the others in the set and does not reflect the usual ‘Beethovenian’ style.

Second Movement: Adagio espressivo

The second movement is a slow Adagio in E-flat major. Here, Beethoven returns to a more classical compositional structure, as seen in the other sonatas. The themes in this movement have a clear beginning and end, in contrast to the more fluid and fragmented first movement. The end of the movement transitions directly into the third movement (attacca).

Third Movement: Scherzo – Allegro

The third movement is a Scherzo, which has been described by Max Rostal as follows: 

“This movement is usually regarded as being ‘playful,’ a view I do not share at all, despite the marking ‘Scherzo.’ Its mode of expression—with the exception of the Trio—is rather uncanny, shadowy, tense, even alarming or, to quote Beethoven himself (although in another connection), Beklemmt.”

The trio offers a sharp contrast, with a more melodic feel than the Scherzo itself. The dramatic intensity in the Scherzo is created by Beethoven’s use of sforzandi on the third beats and the rhythmic intensification in the piano part.

Fourth Movement: Finale – Presto

The fourth movement is a variation form that is more extensive and experimental than other variation movements in Beethoven’s violin sonatas. The first sketches of the theme were found among the sketches for his third cello sonata, dating back to 1807-08. The pastoral mood of the theme evolves throughout the movement, culminating in a slow Adagio and a fugato section before the coda. In this coda, Beethoven writes for the violin the D in the fourth octave, the highest note he used in any of the violin sonatas. The movement concludes with a short Adagio, reflecting on the theme, followed by a brisk Presto.