![]() Everything works in a completely uncomplicated and natural way, and after we had played these sonatas in Salzburg, we knew at once that we wanted to record them. Mozart’s genius, and the violinist describes their musical relationship as “incredibly inspirational. ![]() Together they bring to life the incredible variety and different facets of The last variation sets the theme in a gigue-like rhythm.With this box set of 16 Sonatas for Piano and Violin, Renaud Capuçon and Kit Armstrong showcase the brilliance of Mozart’s chamber music. The piano part shows some virtuosity in the writing, for the left hand in the third variation and for both hands in the fifth. The finale is a set of six variations based on a theme which is twenty measures in length. The second movement is a rondo in the key of A-flat which modulates enharmonically to the remote keys of C-sharp minor and A major. Simon Keefe calls attention to the equal partnership between piano and violin in presenting the main theme as well as later thematic material during the recapitulation section. This motif makes a final appearance at the end of the movement, after the expected coda. Furthermore, the development section is based on none of these three subjects, but on a four-note motif that would become the theme for the last movement of the Jupiter Symphony (Nº 41). Each of the three movements has its own distinct structure: the first movement is in sonata form (although with three clear subjects in the exposition as opposed to the standard two).
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