Analysis of Beethoven's Violin Sonata in D Major

Sonata No. 1 in D major by Beethoven

This sonata for violin and piano was written along with a series of sonatas written by

Beethoven within a five year period between 1798 and 1803. This sonata has three movements.

The first being allegro Con Brio, the second Tema Con Variazoini and the third, Rondo Allegro.

The first movement has several characteristics from the classical period, resembling much of

Mozart and Hayden’s work. This is not surprising considering the fact that Beethoven studied

under Hayden for a short time. Possibly he was inspired by Hayden to write these sonatas. Given

the timeframe, Beethoven would have been showing signs of mental illness and his hearing

would have been beginning to fail. This piece also has some telltale signs of the romantic period.

There are several times throughout the third movement where he uses double dotted notes.

Although this sonata is written for violin with piano accompaniment, the piano’s roll is just as

boisterous as the violin’s part. In some ways the piano performer could play this piece without

the violinist if he desired so. Sometimes throughout this piece it has elements of a fugue. The

piano often echoes a variation of the violin or harmonizes with the melody. Another unique

feature of this piece is the fact that every motive and theme is based on a scale or arpeggio. It

would seem like Beethoven planned ahead and decided to limit himself to those elements when

composing this piece. The majority of the first movement is in a major key and the dynamics

usually very loud or very soft. Not once is mezzo forte or mezzo piano used.

The first movement opens with both instruments playing a sudden and startling D major

chord clearly signifying the key. Beethoven does not hint or make the listener guess at all. He

wants everyone to know that this is clearly D major. The key is further reinforced by the opening

theme which is a D major