Mozart - Violin Sonata in B flat Major K 378 (No.26) (Century's rec.: Clara Haskil, Arthur Grumiaux)

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Full Album available // Mozart: The Violin Sonatas Arthur Grumiaux Clara Haskil
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Wolfgang Amadeus Mozart (1756-1791) Violin Sonata in B flat Major K. 378
Click to activate the English subtitles for the presentation (00:00-02:45)
00:00 Violin Sonata in B flat Major K. 378 - I. Allegro moderato (Remastered 2021)
06:00 Violin Sonata in B flat Major K. 378 - II. Andantino sostenuto e cantabile (Remastered 2021)
10:49 Violin Sonata in B flat Major K. 378 - III. Rondo, Allegro (Remastered 2021)

Violin Sonata K. 304, K. 376, K. 301, K. 454, K. 526 also available. The remastered compilation of all the sonatas performed by Haskil/Grumiaux is available on youtube music https://www.youtube.com/watch?v=O1LzqhWztok&list=OLAK5uy_njlmw9y1qHz_D4ZEp6ZrEz5hJgzpDcBmU&index=1 or on the main platforms by clicking on the links above.

Violin: Arthur Grumiaux
Piano: Clara Haskil
Recorded in 1958, at Basel
New mastering in 2021 by AB for CMRR
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Mozart wrote his Sonata in B-Flat Major, K. 378, in 1779, after his return to Salzburg from the abortive journey to Mannheim and Paris. It was the earliest of the sonatas to be included in Artaria's published set of Opus 11 in 1781. In these works, he opted once and for all for the Italian three-movement form already used by Schuster, abandoning the scheme of two juxtaposed fast movements, highly fashionable in Mannheim and Paris, which is characteristic of the Palatine Sonatas (except K306). The result is an amplification of dramaturgy and contrasts. Hence the Andantino e sostenuto of the Sonata K378 contrasts with the more technical and brilliant aspects of its fast outer movements, favouring a broad, vocal expressiveness that Schubert was to bear in mind when he came to write his songs.

The moment of poetic suspension over a triplet accompaniment on the piano foreshadows ‘moonlit’ passages such as the death of the Commendatore in Don Giovanni, whose framework Beethoven was to take up for his famous ‘Moonlight’ Sonata. To us, with the benefit of hindsight, this movement already appears Romantic. In contrast, the Rondeau launches into an agile, leaping triple time and soars aloft in its central section in common time, with the keyboard often accompanying in Alberti basses (arpeggio figuration supporting the melody). The balance of the modern sonata stands fully revealed here: we are far indeed from the aesthetic of the keyboard sonata ‘with violin accompaniment’.

The opening Allegro moderato brings the principal theme at first on the keyboard, followed by the violin. Something of the same procedure is followed in the introduction of the second subject, with an increase in dramatic tension through the subsequent choices of key. The development makes use of those wide leaps on the violin that characterise certain writing of the period, echoed by a similar use of the keyboard.

The principal theme of the slow movement, entrusted to the violin on its reappearance, frames a central section of greater tension, moving briefly away form the key of E Flat in which it is set. This is followed by the final Rondeau with a principal theme based on the notes of the arpeggio, with one episode in G minor and a second in an energetic triplet rhythm before the return of the opening theme played in imitation by keyboard and violin.

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): https://www.youtube.com/playlist?list=PL3UZpQL9LIxMe6H3Sfn2lvPVFzrvhhPO7