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Born: 27 January 1756 — Salzburg — Austria
Died: 5 December 1791 — Wien — Austria
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
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BIS Records
 
Tasmin's introduction
to Mozart's Sonata No.17
 
 
 
 
(6-8) W. A. Mozart - Sonata No17 in C major - 17'20
W.A. Mozart ..((...read & play)

Mozart, like Bach, was primarily a keyboard player and all of his sonatas reflect his obvious love for the instrument. Once again, the sonatas are for piano and violin, rather than the other way around, and this is immediately apparent in the opening of this bubbly sonata.

The violin shadows the piano line, rather than providing an accompa-nimental alternative, but later there is more give and take, even though the keyboard is almost always the first to introduce any new material.

 

The second movement is very lyrical in style and quite a romantic for the period - the bass line gently rocks while the piano portrays the theme with the violin providing the inner line. The movement is in rondo form, with the theme reappearing various times and each time it is more and more ornate, almost like a set of variations.

 

Then Mozart does a rare thing in this sonata, which is to allow us violinists to have a theme entirely of our own and it provides an almost operatic interlude.

 

The last movement is in Rondo form as well and is quite a cheeky movement.  I love Mozart when he is in a witty mood and the whole movement is very playful.  Once again, he chooses to allow the piano to open with the theme but the violin wants a bit of the action and quite quickly takes over!

 

My favourite bit in this movement is the little part in A minor followed by a rather brash and swaggering section.  You can almost see the different characters on the stage, like a comedia dell'arte!