The Violin Sonata in A major (K. 256) is the last of
Mozart's substantial sonatas for the instrument, followed only by a Sonata in F
major that, with its unconventional order of movements, is, in essence, more of
a sonatina. Written in 1787, the A major Sonata falls close on the heels of
several of Mozart's best compositions, including the B-flat Sonata written for
the violin virtuoso and Regina Strinasacchi, and the six great piano concertos
of 1784.
On the whole, the sonata is characterized by a finely knit
interplay between the solo violin and piano. Both instruments assume a nearly
equal role in the presentation of material and, sometimes, even mimic each
other's roles. The first movement, a wonderfully structured sonata form, opens
simply with the violin and piano in thirds with each other. This relationship
of thirds (or its inversion, of sixths) is used multiple times throughout the
movement. The second theme follows in the key of the dominant, as is expected.
The development section is concise, focusing on the material of the first
theme.
The central Andante in D major begins with a simple
motif in the piano answered by a more melodic idea in the violin. These two
ideas together form the principal idea of another sonata form. Somewhat
exceptionally, a lyrical second theme follows beginning in the key of A minor
before moving to a more conventional A major, in which the exposition ends. The
development section is brief, focusing once again entirely on the first theme.
The recapitulation is straightforward, though not without some variation. For
example, the first theme is varied with a syncopated figure found at the close
of the exposition.
The energetic Presto finale is nearly dominated by a
persistent eighth note rhythm, almost like a moto perpetuo. At times, it
forms a counterpoint to the violin's theme, such as at the opening of the
movement. At others, it pushes itself to fore. In fact, the steady stream of
eighth notes is only in a few places broken throughout the entire finale. Even
during a brief passionate theme in F-sharp minor, the eighth note rhythm finds
a place as a gentle rocking arpeggio figure in the accompaniment. Consequently,
the finale is imbued with a restless energy that drives it to a jubilant
conclusion.Joseph DuBose
This sonata has as
its neighbors in Köchel's chronological catalog of Mozart's works two of the
composer's most famous masterpieces. Köchel
number 525 is the celebrated serenade Eine
kleine Nachtmusik, while K.527 is Mozart's great opera Don Giovanni. However, echoes
of neither of these masterworks are to be found in this brilliant and lively
sonata. It owes more to the virtuoso
style of Mozart's piano concertos as well as to his interest in the polyphonic
music of Bach and Handel. A continuous give and take between the two
instruments divides the thematic material between violin and piano so that it
is often impossible to tell which is playing the theme and which is providing the
accompaniment. Berent Korfker
Classical Music | Violin Music
Wolfgang Amadeus Mozart
Sonata in A Major, K. 526 Play
Recorded on 05/30/2006, uploaded on 01/14/2009
Musician's or Publisher's Notes
The Violin Sonata in A major (K. 256) is the last of Mozart's substantial sonatas for the instrument, followed only by a Sonata in F major that, with its unconventional order of movements, is, in essence, more of a sonatina. Written in 1787, the A major Sonata falls close on the heels of several of Mozart's best compositions, including the B-flat Sonata written for the violin virtuoso and Regina Strinasacchi, and the six great piano concertos of 1784.
On the whole, the sonata is characterized by a finely knit interplay between the solo violin and piano. Both instruments assume a nearly equal role in the presentation of material and, sometimes, even mimic each other's roles. The first movement, a wonderfully structured sonata form, opens simply with the violin and piano in thirds with each other. This relationship of thirds (or its inversion, of sixths) is used multiple times throughout the movement. The second theme follows in the key of the dominant, as is expected. The development section is concise, focusing on the material of the first theme.
The central Andante in D major begins with a simple motif in the piano answered by a more melodic idea in the violin. These two ideas together form the principal idea of another sonata form. Somewhat exceptionally, a lyrical second theme follows beginning in the key of A minor before moving to a more conventional A major, in which the exposition ends. The development section is brief, focusing once again entirely on the first theme. The recapitulation is straightforward, though not without some variation. For example, the first theme is varied with a syncopated figure found at the close of the exposition.
The energetic Presto finale is nearly dominated by a persistent eighth note rhythm, almost like a moto perpetuo. At times, it forms a counterpoint to the violin's theme, such as at the opening of the movement. At others, it pushes itself to fore. In fact, the steady stream of eighth notes is only in a few places broken throughout the entire finale. Even during a brief passionate theme in F-sharp minor, the eighth note rhythm finds a place as a gentle rocking arpeggio figure in the accompaniment. Consequently, the finale is imbued with a restless energy that drives it to a jubilant conclusion. Joseph DuBose
___________________________________________________Sonata in A Major, K526 Wolfgang Amadeus Mozart
Molto allegro -- Andante -- Presto
This sonata has as its neighbors in Köchel's chronological catalog of Mozart's works two of the composer's most famous masterpieces. Köchel number 525 is the celebrated serenade Eine kleine Nachtmusik, while K.527 is Mozart's great opera Don Giovanni. However, echoes of neither of these masterworks are to be found in this brilliant and lively sonata. It owes more to the virtuoso style of Mozart's piano concertos as well as to his interest in the polyphonic music of Bach and Handel. A continuous give and take between the two instruments divides the thematic material between violin and piano so that it is often impossible to tell which is playing the theme and which is providing the accompaniment. Berent Korfker
More music by Wolfgang Amadeus Mozart
Rondo in D Major, K. 485
Soave sia il vento, from Così fan tutte
Hostias from Requiem K.626
Sonata in D Major
Concerto No.21 Do major 2nd moviment
12 Variations in C Major on “Ah, vous dirai-je Maman” K. 265
Benedictus from Requiem K. 626
Piano Concerto 12 KV 414 (1ºmov)
Piano Sonata No. 8 in a minor, K 310
Dies Irae from Requiem K. 626
Performances by same musician(s)
Violin sonata No. 2 in A Major, Op. 100
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