Mozart, Wolfgang Amadeus: Works for Tangent Piano and Violin

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Mozart, Wolfgang Amadeus: Works for Tangent Piano and Violin

Sonate D-Dur · D Major KV 7
1 Allegro molto 5:09
2 Adagio 6:41
3 Menuett I & II 2:33

Präludium & Fuge KV 394
4 Präludium 4:48
5 Fuga. Andante maestoso 5:24

Sonate C-Dur · C Major KV 296
6 Allegro vivace 9:54
7 Andante sostenuto 6:56
8 Rondeau. Allegro 4:28

Sonate G-Dur · G Major KV 379
9 Adagio 6:26
10 Allegro 6:44
11 Thema. Andantino cantabile 1:05
12 Variation I 1:08
13 Variation II 1:14
14 Variation III 1:03
15 Variation IV 1:20
16 Variation V. Adagio 3:14
17 Allegretto (Thema da Capo) 1:21

Sechs Variationen KV 360 über das Lied „Au bord d’une fontaine“
18 Thema. Andantino 1:56
19 Variation I 1:45
20 Variation II 1:44
21 Variation III 1:45
22 Variation IV 1:35
23 Variation V 1:56
24 Variation VI 1:32

Total 81:57

Thomas Leininger, Tangent Piano
Isabel Schau, Violin

During the course of his life, Wolfgang Amadeus Mozart devoted himself time and again to the genre of the accompanied clavier sonata. Mozart wrote the earliest specimens at the age of eight in order to perform them either with his sister on the harpsichord and himself on violin, or with his father, the famous violin pedagogue, and himself sitting at the harpsichord. Leopold Mozart assured his son in a letter that he ranked him among Europe’s best violinists – the composer, however, preferred to see himself as a clavier virtuoso and (naturally) above all as a “Compositeur” who had many new things to say. It is also in this area of tension that the present works are to be found. While in the early sonatas the violin plays a clearly subordinate accompaniment role to the brilliant harpsichord part, which also leads in the cantabile slow movements, this distribution of the roles is reversed in favor of the violin during the course of time. In the Mannheim sonatas of the “middle” period an abandonment of the violin would have been a painfully felt loss. And, eventually, in the even later Viennese sonatas, a true partnership between the two equal instruments is found. However, here too, the spirited-virtuoso part was still predominantly reserved for the clavier.