Mozart - Violin Sonata in C Major K. 301 (No.18) (Century's record.: Clara Haskil, Arthur Grumiaux)

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Wolfgang Amadeus Mozart (1756-1791) Violin Sonata in C Major K. 301
Click to activate the English subtitles for the presentation (00:00-02:45)
00:00 Violin Sonata in C Major K. 301 - l. Allegro con spirito (Remastered 2021)
05:38 Violin Sonata in C Major K. 301 - II. Allegro (Remastered 2021)

Violin Sonata K. 304, K. 378, K. 376, K. 454, K. 526 also available. The remastered compilation of all the sonatas performed by Haskil/Grumiaux is available on youtube music    • Violin Sonata in E minor K. 304 - I. Alleg...   or on the main platforms by clicking on the links above.

Violin: Arthur Grumiaux
Piano: Clara Haskil
Recorded in 1958, at Basel
New mastering in 2021 by AB for CMRR
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Most of Mozart's piano duets are sonatas for violin and piano, a genre that he gradually evolved to the point of establishing the standards of the modern sonata for violin and piano. He was the first to establish a true dialogue between the two instrumentalists. Moreover, he was one of the few composers to solve the delicate sound problems posed by the combination of a violin and a keyboard instrument. The Sonata for piano and violin n°18 is one of the sonatas begun in Mannheim, completed and published in Paris in 1778, dedicated to the Princess Palatine. This is the reason why the sonatas that make up Opus 1 are known as the "Palatine Sonatas". Playful and playful, the two instruments accompany each other in turn: each plays an equal role, which is new in Mozart's output.

The tradition of writing the sonata for piano and violin, to which Mozart himself sacrificed until then, consisted in having the violin accompany the keyboard part in unison, thirds or octaves. This type of piece was generally published under the title of "keyboard sonata with violin accompaniment" when it was not added "ad libitum" specifying that the presence of the violin was not essential and that the keyboard part could be sufficient on its own. To use the violin as a concertante instrument, to have it accompanied by the keyboard, or to share the discourse between the two instrumentalists and let them dialogue as equals, are all factors that constitute an unusual musical balance and arouse Mozart's enthusiasm.

It is not by chance that he uses the term "duetti" to refer to this distribution of roles, suddenly transforming the sonata for keyboard and violin into a true duo, opening up a whole new field of expression. He is so motivated that he interrupts the heavy and lucrative commission of quartets and concertos for flute from the Dutch amateur De Jean - the crossed-out autograph of two sonatas even shows that he had previously considered entrusting them to the flute. This is what he explains to his father in a letter: "For a change, I have composed from time to time something else, for example duets for piano and violin... At the moment, I am seriously working on the duets, in order to be able to give them to be engraved."

Beethoven - Die Sonaten für Klavier und Violine (Century’s rec.: Clara Haskil, Arthur Grumiaux)
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Wolfgang Amadeus Mozart (1756-1791) PLAYLIST (references recordings):    • Wolfgang Amadeus Mozart (1756-1791)