Classical Music | Violin Music

Wolfgang Amadeus Mozart

Sonata in A Major, K. 526  Play

Berent Korfker Violin
Sander Sittig Piano

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

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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

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