Mozart - Violin Sonatas
£14.20
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Label: Hyperion
Cat No: CDA68091
Format: CD
Number of Discs: 2
Genre: Chamber
Release Date: 29th April 2016
Contents
Works
Violin Sonata no.5 in B flat major, K10Violin Sonata no.9 in C major, K14
Violin Sonata no.15 in F major, K30
Violin Sonata no.18 in G major, K301
Violin Sonata no.21 in E minor, K304
Violin Sonata no.27 in G major, K379
Violin Sonata no.33 in E flat major, K481
Artists
Alina Ibragimova (violin)Cedric Tiberghien (piano)
Works
Violin Sonata no.5 in B flat major, K10Violin Sonata no.9 in C major, K14
Violin Sonata no.15 in F major, K30
Violin Sonata no.18 in G major, K301
Violin Sonata no.21 in E minor, K304
Violin Sonata no.27 in G major, K379
Violin Sonata no.33 in E flat major, K481
Artists
Alina Ibragimova (violin)Cedric Tiberghien (piano)
About
Sound/Video
Paused
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1Violin Sonata In G, K 301 - 1. Allegro Con Spirito
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2Violin Sonata In G, K 301 - 2. Allegro
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3Violin Sonata In B Flat, K 10 - 1. Allegro
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4Violin Sonata In B Flat, K 10 - 2. Andante
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5Violin Sonata In B Flat, K 10 - 3. Menuetto
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6Violin Sonata In E Flat, K 481 - 1. Molto Allegro
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7Violin Sonata In E Flat, K 481 - 2. Adagio
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8Violin Sonata In E Flat, K 481 - 3. Allegretto (With Variations)
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9Violin Sonata In G, K 379 - 1. Adagio; Allegro
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10Violin Sonata In G, K 379 - 2. Theme & Variations: Andantino Cantabile
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11Violin Sonata In F, K 30 - 1. Adagio
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12Violin Sonata In F, K 30 - 2. Rondo: Tempo Di Menuetto
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13Violin Sonata In C, K 14 - 1. Allegro
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14Violin Sonata In C, K 14 - 2. Allegro
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15Violin Sonata In C, K 14 - 3. Menuetto
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16Violin Sonata In E Minor, K 304 - 1. Allegro
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17Violin Sonata In E Minor, K 304 - 2. Tempo Di Menuetto
Europadisc Review
With such experienced yet still youthful performers, the early works take on a rare freshness, so that even their more routine passagework comes across as engaging, while the moments of real individuality – like the en carillon second Menuetto of the C major Sonata, K14, with its enchanting bell-like sonorities – are utterly charming. Both K10 and K14 were composed in late 1764 while the young Mozart was in London, part of a set of six dedicated to Queen Charlotte. The F major Sonata, K30, written in early 1766 in The Hague, and dedicated to Princess Caroline of Orange-Nassau, already shows signs of increased originality, and it prompts the performers to a more exploratory mood, delicately testing the emotional undercurrents.
The real substance, however, comes with the later sonatas. Though three of them (K301, K304 and K379) are cast in just two movements apiece, the range of invention and expression is wide, and the violin is now fully the musical equal of the piano – a point underscored by the perfect recorded balance achieved by the Hyperion team of engineer Simon Eadon and producer Andrew Keener. The G major Sonata, K301, of 1778 actually started out as a flute sonata before Mozart had a change of mind and extended the melody-instrument’s range. Here it comes across as a model of happy musical teamwork, alert and joyous, the waltz-like second movement (with its minor-key central episode spotlighting the violin) poised to perfection.
Composed in a hurry for Mozart’s employer Archbishop Colloredo in Vienna in spring of 1781, the G major Sonata, K379, has the most interesting formal structure of all these works. The first movement starts as a sonata-form Adagio (complete with exposition repeat!), but at the moment where the recapitulation should come, it suddenly ups tempo to an agitated minor-key Allegro. It is followed by a variation-form Andantino cantabile whose theme, replete with gentle trills, has echoes of Pachelbel’s famous Canon. With music of such abundant imagination, Ibragimova and Tiberghien seem instinctively to know when to allow the music to do the talking, responding keenly but discreetly to its changes of expression.
The latest work on this set is the E flat Sonata, K481, of December 1785, a three-movement work which really allows the performers to blossom, not least in the rich profundity of the central Adagio, whose harmonic depths are unfolded with tone of enthralling inwardness and beauty. The development section of the motivically fecund first movement anticipates the main theme of the ‘Jupiter’ Symphony’s finale, and although the variation finale starts out at a leisurely pace, it builds to suitably lively conclusion in ‘hunting’ mode.
Ibragimova and Tiberghien choose to end with the E minor Sonata, K304, of 1778, and it’s an inspired decision. The only work by Mozart in this key, and perhaps linked to the death of his mother while they were on travels in Paris, this is quite different in expressive intensity from the other sonatas here. From the subdued opening unisons of the first movement to the searingly affecting Minuet with its deeply-felt major-key trio, this brings out the best in both players (including piano playing of incredible softness), and the unresolved harmonic tensions of the close will surely tempt listeners to hope for more Mozart from the same team very soon.
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