This piece came at a time when Bartók was writing more direct, less aurally challenging compositions like the Third Piano Concerto (1945) and Concerto for Orchestra (1943; rev. 1945). Moreover, any work for solo violin is reduced to certain limitations of sound, no matter how complex a scale it is conceived on, no matter how lofty the composer's goals are. In this sonata, perhaps more than in any other chamber work of his, Bartók relies on melody and turns away from complex rhythms, fully aware that this kind of solo genre must be built upon essentials.

He gradually reduced the level of complexity in the work as it proceeded from movement to movement. Not that it is substantially complex at the outset; indeed, even the first movement is relatively straightforward, though it is formally elaborate and the longest of the four panels. Inspired by Bach's great chaconne from Partita for Violin No. 2, BWV 1004, it begins in a serious vein and carries the marking Tempo di ciaccona. A solemn chaconne theme is presented at the outset and another melody, this one played in sixths, is next introduced. A third one, of a more flowing nature than the previous two, ensues. There follow a fairly elaborate development section and a varied reprise.

The second movement is marked Fuga: Risoluto, non troppo vivo. Obviously this is a fugue, but not the kind one would expect for an essentially monodic instrument, for here we have a four-part fugue! Bartók presents a theme and its inversion in various episodes, often simultaneously. While this description might suggest a complex listening experience, the music is quite easily grasped throughout.

The third movement, marked Melodia: Adagio, presents an attractive, if somewhat sober theme with no harmonies. Its beauty and effectiveness are undeniable in this relatively simple scheme. The middle section is brief and breaks with the monodic character of the main material. The overall mood of this movement is one that contains a mixture of serenity and ethereality.

The finale, marked Presto, begins with a theme played in perpetuum mobile style. But the mood is mysterious, the violin making gossamer sounds in its rush forward. This material alternates with a couple of high-spirited dance tunes throughout the movement. The structure of the finale resembles that of a Rondo, and can loosely be classed as such. While the first movement offers many challenges to the soloist, the finale contains its share of difficulties, too, and visually strikes audiences as the most virtuosic.

A typical performance of Bartók's Solo Violin Sonata lasts from 20 to 24 minutes. The work was commissioned by Yehudi Menuhin, who premiered it.

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