Mozart - Violin Sonata in B flat Major K 454 (No.32) (Century's rec.: Clara Haskil, Arthur Grumiaux)

Wolfgang Amadeus Mozart (1756-1791) The Violin Sonatas by Haskil & Grumiaux / Remastered.
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00:00 Violin Sonata in B flat Major K. 454 - I. Largo, Allegro (Remastered 2021)
07:14 Violin Sonata in B flat Major K. 454 - II. Andante (Remastered 2021)
15:23 Violin Sonata in B flat Major K. 454 - III. Allegretto (Remastered 2021)

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

Violin: Arthur Grumiaux
Piano: Clara Haskil
Recorded in 1956, at Basel
New mastering in 2021 by AB for CMRR
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Unlike Joseph Haydn, for one, Mozart had a close personal relationship to the violin. Trained according to the precepts of his father's celebrated violin tutor, which appeared in 1765, he soon developed into an excellent violinist. His ambitions as a violinist were stimulated by his contact with the foremost virtuosos of his age. True, he admitted in a letter of November 22, 1777 that he was "no great lover of difficulties," and the technical demands of his violin compositions — the sonatas and the five violin concertos that he composed in 1775 for himself and for the Salzburg violinist Antonio Brunetti — do, in fact, mostly remain within certain limits. But during his time as leader of the Salzburg orchestra, if not earlier, he acquired an intimate understanding of the special idiom of the instrument.

In April 1784 the Italian violinist Regina Strinasacchi, then aged 20, visited Vienna. For her "academy" on April 29 Mozart wrote in the obligatory haste, his Sonata in B flat K. 454. He handed over the violin part to his fellow artist only on the evening before the concert. There was no time left to notate the keyboard part. However, Mozart managed the feat of performing it virtually extempore. At the concert he played just from a barren sketch containing a few annotations concerning accompanimental figures and modulations. Remarkably, the experiment succeeded. As a Viennese newspaper reported, the new sonata was received, in the presence of the Emperor, with "general approval."

Mozart's very high opinion of Regina Strinasacchi ("Her playing possesses much taste and sensitivity") was confirmed a year later by his father Leopold after a concert in Salzburg: "She puts her whole heart and soul into the melody she plays, and her tone-quality and strength of tone are equally fine. Indeed, I find that a talented woman plays more expressively than a man."

In Alfred Einstein's words, one passes "as if through a triumphal arch" from an impressive Largo to the main Allegro section of the first movement, which places the two partners in an absolutely ideal balance. The principle of dialogue, already present in earlier sonatas,
is now developed further in masterly fashion. However, the concertante element which (in tribute to the excellent young violinist) informs both the opening movement and the rondo with its brilliant coda also deserves mention.

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)