Sonata for violin & piano No. 27 in G major, K. 379 (K. 373a)
Sonata for violin & piano No. 25 in F major, K. 377 (K. 374e)
Sonata for violin & piano No. 19 in E flat major, K. 302 (K. 293b)
Sonata for violin & piano No. 32 in B flat major, K. 454
Mozart's sonatas for violin and piano are excitingly transitional in a way really unlike any of his other works. Mozart still entitled them sonatas for pianoforte and violin, and the mature works here complete a long process of bringing the violin to full equality in the pairing. The keyboard instruments Mozart had to work with were evolving rapidly, and here, he seems to be reveling in their new possibilities. The sonatas, in general, just as much as the string quartets, show Mozart transforming what had been light ...
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Mozart's sonatas for violin and piano are excitingly transitional in a way really unlike any of his other works. Mozart still entitled them sonatas for pianoforte and violin, and the mature works here complete a long process of bringing the violin to full equality in the pairing. The keyboard instruments Mozart had to work with were evolving rapidly, and here, he seems to be reveling in their new possibilities. The sonatas, in general, just as much as the string quartets, show Mozart transforming what had been light occasional music into a serious genre. It's hard to put across just how shocking the debut of the G minor main theme in the Violin Sonata in G major, K. 379, must have been for Mozart's audiences, but violinist Isabelle Faust, playing the so-called Sleeping Beauty Stradivarius, and fortepianist Alexander Melnikov manage it here: their playing is brilliant, Beethovenian, and flawless in its ensemble. They manage the balance between the movements beautifully, with the vastly experimental K....
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