Wolfgang Amadeus Mozart (1756-1791) The Violin Sonatas by Haskil & Grumiaux / Remastered. 🎧 Qobuz bit.ly/3HbFdlx Deezer bit.ly/3LWsczQ 🎧 Amazon Music amzn.to/3Q8sEOe Tidal bit.ly/3pbOBjc 🎧 Spotify spoti.fi/3sdrx5r Apple Music apple.co/35eYu8x 🎧 UA-cam Music bit.ly/3X3AA5l SoundCloud bit.ly/36zPjjL 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … 00:00 Violin Sonata in B flat Major K. 454 - I. Largo, Allegro (Remastered 2021) 07:14 Violin Sonata in B flat Major K. 454 - II. Andante (Remastered 2021) 15:23 Violin Sonata in B flat Major K. 454 - III. Allegretto (Remastered 2021) The remastered compilation of all the sonatas performed by Haskil/Grumiaux is available on youtube music ua-cam.com/video/O1LzqhWztok/v-deo.html or on the main platforms by clicking on the links above. Violin: Arthur Grumiaux Piano: Clara Haskil Recorded in 1956, at Basel New mastering in 2021 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Pictures from the second half of the eighteenth century, such as the domestic scene painted by Sir Charles Wheatley, often show a young lady seated at a keyboard instrument with a gentlemen standing at her side accompanying her on the violin. Mere politeness demanded that musical precedence be granted to the harpsichord or fortepiano, which was usually played by a member of the female sex - a rule of courtesy that may have had, at least for a considerable while, consequences for the early Classical sonata, where the keyboard instrument is clearly dominant. In the formative years of the violin sonata one cannot speak, with all the good will in the world, of equality between the instruments; at most the violin contributes to the essential musical substance only the occasional interjection or a few inconspicuous imitations. This is the context in which to set the fact that on February 14, 1778 Mozart, writing to his father from Mannheim, refers to certain "keyboard duets with violin" of his own composition. Indeed, the concept of an "accompaniment for violin" lingered on a while. Thus in 1778 some new violin sonatas by Mozart came out in Paris under the title of "Six Sonates pour Clavecin ou Forte Piano avec Accompagnement d'un Violon." Nevertheless, the principle of dialogue, of give and take between the two instruments, gradually came to permeate the character of the violin sonata. Many contemporary writers bore witness to this important development. When Mozart published, in 1781 , a new collection of violin sonatas, a critic in Carl Friedrich Cramer's "Magazin der Musik" wrote that both instruments constantly received the same degree of attention. Unlike Joseph Haydn, for one, Mozart had a close personal relationship to the violin. Trained according to the precepts of his father's celebrated violin tutor, which appeared in 1765, he soon developed into an excellent violinist. His ambitions as a violinist were stimulated by his contact with the foremost virtuosos of his age. True, he admitted in a letter of November 22, 1777 that he was "no great lover of difficulties," and the technical demands of his violin compositions - the sonatas and the five violin concertos that he composed in 1775 for himself and for the Salzburg violinist Antonio Brunetti - do, in fact, mostly remain within certain limits. But during his time as leader of the Salzburg orchestra, if not earlier, he acquired an intimate understanding of the special idiom of the instrument. In April 1784 the Italian violinist Regina Strinasacchi, then aged 20, visited Vienna. For her "academy" on April 29 Mozart wrote in the obligatory haste, his Sonata in B flat K. 454. He handed over the violin part to his fellow artist only on the evening before the concert. There was no time left to notate the keyboard part. However, Mozart managed the feat of performing it virtually extempore. At the concert he played just from a barren sketch containing a few annotations concerning accompanimental figures and modulations. Remarkably, the experiment succeeded. As a Viennese newspaper reported, the new sonata was received, in the presence of the Emperor, with "general approval." Mozart's very high opinion of Regina Strinasacchi ("Her playing possesses much taste and sensitivity") was confirmed a year later by his father Leopold after a concert in Salzburg: "She puts her whole heart and soul into the melody she plays, and her tone-quality and strength of tone are equally fine. Indeed, I find that a talented woman plays more expressively than a man." In Alfred Einstein's words, one passes "as if through a triumphal arch" from an impressive Largo to the main Allegro section of the first movement, which places the two partners in an absolutely ideal balance. The principle of dialogue, already present in earlier sonatas, is now developed further in masterly fashion. However, the concertante element which (in tribute to the excellent young violinist) informs both the opening movement and the rondo with its brilliant coda also deserves mention. Beethoven - Die Sonaten für Klavier und Violine (Century’s rec.: Clara Haskil, Arthur Grumiaux) 🎧 Qobuz bit.ly/3CRdBAq Deezer bit.ly/3lZ4Ttj 🎧 Amazon Music amzn.to/3IBFgMb Tidal bit.ly/2XTqkne 🎧 Spotify spoti.fi/3obXFEM Apple Music apple.co/3uh9DxS 🎧 UA-cam Music bit.ly/3WWLCtT SoundCloud bit.ly/3uebBzf 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … Wolfgang Amadeus Mozart (1756-1791) PLAYLIST (references recordings): ua-cam.com/video/dCi2bMeYqTk/v-deo.html
Wunderschöne Interpretation dieser perfekt komponierten Sonate im lebhaften Tempo mit seidigem doch gut phrasiertem Ton der unvergleichlichen Violine und klarem doch anmutigem Klang des ebenso unvergleichlichen Klaviers. Der zweite Satz klingt besonders schön und fast himmlisch. Im Kontrast klingt der dritte Satz echt lebhaft und auch begeisternd. Der intime und perfekt entsprechende Dialog zwischen den beiden Virtuosen ist wahrhaft eindrucksvoll. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine Originalaufnahme von fünfundsechzig Jahren vor. Alles ist wundebar!
No one could be better than those legendary artists' combination, in terms of great interpretation of Mozart. I couldn't express how thankful I am for your having uploaded this melodious pieces by two fabulous masters.
This violin sonata was dedicated by Mozart to the great viplinist Strinasacchi. A great emotion !!Also the pianist Haskil was very superb,but she did withdraw from scene since was seriously sick.A great and unforgettable artist.
Pictures from the second half of the eighteenth century, such as the domestic scene painted by Sir Charles Wheatley, often show a young lady seated at a keyboard instrument with a gentlemen standing at her side accompanying her on the violin. Mere politeness demanded that musical precedence be granted to the harpsichord or fortepiano, which was usually played by a member of the female sex - a rule of courtesy that may have had, at least for a considerable while, consequences for the early Classical sonata, where the keyboard instrument is clearly dominant. In the formative years of the violin sonata one cannot speak, with all the good will in the world, of equality between the instruments; at most the violin contributes to the essential musical substance only the occasional interjection or a few inconspicuous imitations. This is the context in which to set the fact that on February 14, 1778 Mozart, writing to his father from Mannheim, refers to certain "keyboard duets with violin" of his own composition. Indeed, the concept of an "accompaniment for violin" lingered on a while. Thus in 1778 some new violin sonatas by Mozart came out in Paris under the title of "Six Sonates pour Clavecin ou Forte Piano avec Accompagnement d'un Violon." Nevertheless, the principle of dialogue, of give and take between the two instruments, gradually came to permeate the character of the violin sonata. Many contemporary writers bore witness to this important development. When Mozart published, in 1781 , a new collection of violin sonatas, a critic in Carl Friedrich Cramer's "Magazin der Musik" wrote that both instruments constantly received the same degree of attention. Unlike Joseph Haydn, for one, Mozart had a close personal relationship to the violin. Trained according to the precepts of his father's celebrated violin tutor, which appeared in 1765, he soon developed into an excellent violinist. His ambitions as a violinist were stimulated by his contact with the foremost virtuosos of his age. True, he admitted in a letter of November 22, 1777 that he was "no great lover of difficulties," and the technical demands of his violin compositions - the sonatas and the five violin concertos that he composed in 1775 for himself and for the Salzburg violinist Antonio Brunetti - do, in fact, mostly remain within certain limits. But during his time as leader of the Salzburg orchestra, if not earlier, he acquired an intimate understanding of the special idiom of the instrument. In April 1784 the Italian violinist Regina Strinasacchi, then aged 20, visited Vienna. For her "academy" on April 29 Mozart wrote in the obligatory haste, his Sonata in B flat K. 454. He handed over the violin part to his fellow artist only on the evening before the concert. There was no time left to notate the keyboard part. However, Mozart managed the feat of performing it virtually extempore. At the concert he played just from a barren sketch containing a few annotations concerning accompanimental figures and modulations. Remarkably, the experiment succeeded. As a Viennese newspaper reported, the new sonata was received, in the presence of the Emperor, with "general approval." Mozart's very high opinion of Regina Strinasacchi ("Her playing possesses much taste and sensitivity") was confirmed a year later by his father Leopold after a concert in Salzburg: "She puts her whole heart and soul into the melody she plays, and her tone-quality and strength of tone are equally fine. Indeed, I find that a talented woman plays more expressively than a man." In Alfred Einstein's words, one passes "as if through a triumphal arch" from an impressive Largo to the main Allegro section of the first movement, which places the two partners in an absolutely ideal balance. The principle of dialogue, already present in earlier sonatas, is now developed further in masterly fashion. However, the concertante element which (in tribute to the excellent young violinist) informs both the opening movement and the rondo with its brilliant coda also deserves mention. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
Wolfgang Amadeus Mozart (1756-1791) The Violin Sonatas by Haskil & Grumiaux / Remastered.
🎧 Qobuz bit.ly/3HbFdlx Deezer bit.ly/3LWsczQ
🎧 Amazon Music amzn.to/3Q8sEOe Tidal bit.ly/3pbOBjc
🎧 Spotify spoti.fi/3sdrx5r Apple Music apple.co/35eYu8x
🎧 UA-cam Music bit.ly/3X3AA5l SoundCloud bit.ly/36zPjjL
🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 …
00:00 Violin Sonata in B flat Major K. 454 - I. Largo, Allegro (Remastered 2021)
07:14 Violin Sonata in B flat Major K. 454 - II. Andante (Remastered 2021)
15:23 Violin Sonata in B flat Major K. 454 - III. Allegretto (Remastered 2021)
The remastered compilation of all the sonatas performed by Haskil/Grumiaux is available on youtube music ua-cam.com/video/O1LzqhWztok/v-deo.html or on the main platforms by clicking on the links above.
Violin: Arthur Grumiaux
Piano: Clara Haskil
Recorded in 1956, at Basel
New mastering in 2021 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
❤ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Pictures from the second half of the eighteenth century, such as the domestic scene painted by Sir Charles Wheatley, often show a young lady seated at a keyboard instrument with a gentlemen standing at her side accompanying her on the violin. Mere politeness demanded that musical precedence be granted to the harpsichord or fortepiano, which was usually played by a member of the female sex - a rule of courtesy that may have had, at least for a considerable while, consequences for the early Classical sonata, where the keyboard instrument is clearly dominant. In the formative years of the violin sonata one cannot speak, with all the good will in the world, of equality between the instruments; at most the violin contributes to the essential musical substance only the occasional interjection or a few inconspicuous imitations. This is the context in which to set the fact that on February 14, 1778 Mozart, writing to his father from Mannheim, refers to certain "keyboard duets with violin" of his own composition. Indeed, the concept of an "accompaniment for violin" lingered on a while. Thus in 1778 some new violin sonatas by Mozart came out in Paris under the title of "Six Sonates pour Clavecin ou Forte Piano avec Accompagnement d'un Violon." Nevertheless, the principle of dialogue, of give and take between the two instruments, gradually came to permeate the character of the violin sonata. Many contemporary writers bore witness to this important development. When Mozart published, in 1781 , a new collection of violin sonatas, a critic in Carl Friedrich Cramer's "Magazin der Musik" wrote that both instruments constantly received the same degree of attention.
Unlike Joseph Haydn, for one, Mozart had a close personal relationship to the violin. Trained according to the precepts of his father's celebrated violin tutor, which appeared in 1765, he soon developed into an excellent violinist. His ambitions as a violinist were stimulated by his contact with the foremost virtuosos of his age. True, he admitted in a letter of November 22, 1777 that he was "no great lover of difficulties," and the technical demands of his violin compositions - the sonatas and the five violin concertos that he composed in 1775 for himself and for the Salzburg violinist Antonio Brunetti - do, in fact, mostly remain within certain limits. But during his time as leader of the Salzburg orchestra, if not earlier, he acquired an intimate understanding of the special idiom of the instrument.
In April 1784 the Italian violinist Regina Strinasacchi, then aged 20, visited Vienna. For her "academy" on April 29 Mozart wrote in the obligatory haste, his Sonata in B flat K. 454. He handed over the violin part to his fellow artist only on the evening before the concert. There was no time left to notate the keyboard part. However, Mozart managed the feat of performing it virtually extempore. At the concert he played just from a barren sketch containing a few annotations concerning accompanimental figures and modulations. Remarkably, the experiment succeeded. As a Viennese newspaper reported, the new sonata was received, in the presence of the Emperor, with "general approval."
Mozart's very high opinion of Regina Strinasacchi ("Her playing possesses much taste and sensitivity") was confirmed a year later by his father Leopold after a concert in Salzburg: "She puts her whole heart and soul into the melody she plays, and her tone-quality and strength of tone are equally fine. Indeed, I find that a talented woman plays more expressively than a man."
In Alfred Einstein's words, one passes "as if through a triumphal arch" from an impressive Largo to the main Allegro section of the first movement, which places the two partners in an absolutely ideal balance. The principle of dialogue, already present in earlier sonatas,
is now developed further in masterly fashion. However, the concertante element which (in tribute to the excellent young violinist) informs both the opening movement and the rondo with its brilliant coda also deserves mention.
Beethoven - Die Sonaten für Klavier und Violine (Century’s rec.: Clara Haskil, Arthur Grumiaux)
🎧 Qobuz bit.ly/3CRdBAq Deezer bit.ly/3lZ4Ttj
🎧 Amazon Music amzn.to/3IBFgMb Tidal bit.ly/2XTqkne
🎧 Spotify spoti.fi/3obXFEM Apple Music apple.co/3uh9DxS
🎧 UA-cam Music bit.ly/3WWLCtT SoundCloud bit.ly/3uebBzf
🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 …
Wolfgang Amadeus Mozart (1756-1791) PLAYLIST (references recordings): ua-cam.com/video/dCi2bMeYqTk/v-deo.html
I papà e le mamme dovrebbero far ascoltare questi capolavori ai pargoli 💞
Wunderschöne Interpretation dieser perfekt komponierten Sonate im lebhaften Tempo mit seidigem doch gut phrasiertem Ton der unvergleichlichen Violine und klarem doch anmutigem Klang des ebenso unvergleichlichen Klaviers. Der zweite Satz klingt besonders schön und fast himmlisch. Im Kontrast klingt der dritte Satz echt lebhaft und auch begeisternd. Der intime und perfekt entsprechende Dialog zwischen den beiden Virtuosen ist wahrhaft eindrucksvoll. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine Originalaufnahme von fünfundsechzig Jahren vor. Alles ist wundebar!
No one could be better than those legendary artists' combination, in terms of great interpretation of Mozart.
I couldn't express how thankful I am for your having uploaded this melodious pieces by two fabulous masters.
This violin sonata was dedicated by Mozart to the great viplinist Strinasacchi. A great emotion !!Also the pianist Haskil was very superb,but she did withdraw from scene since was seriously sick.A great and unforgettable artist.
Pictures from the second half of the eighteenth century, such as the domestic scene painted by Sir Charles Wheatley, often show a young lady seated at a keyboard instrument with a gentlemen standing at her side accompanying her on the violin. Mere politeness demanded that musical precedence be granted to the harpsichord or fortepiano, which was usually played by a member of the female sex - a rule of courtesy that may have had, at least for a considerable while, consequences for the early Classical sonata, where the keyboard instrument is clearly dominant. In the formative years of the violin sonata one cannot speak, with all the good will in the world, of equality between the instruments; at most the violin contributes to the essential musical substance only the occasional interjection or a few inconspicuous imitations. This is the context in which to set the fact that on February 14, 1778 Mozart, writing to his father from Mannheim, refers to certain "keyboard duets with violin" of his own composition. Indeed, the concept of an "accompaniment for violin" lingered on a while. Thus in 1778 some new violin sonatas by Mozart came out in Paris under the title of "Six Sonates pour Clavecin ou Forte Piano avec Accompagnement d'un Violon." Nevertheless, the principle of dialogue, of give and take between the two instruments, gradually came to permeate the character of the violin sonata. Many contemporary writers bore witness to this important development. When Mozart published, in 1781 , a new collection of violin sonatas, a critic in Carl Friedrich Cramer's "Magazin der Musik" wrote that both instruments constantly received the same degree of attention.
Unlike Joseph Haydn, for one, Mozart had a close personal relationship to the violin. Trained according to the precepts of his father's celebrated violin tutor, which appeared in 1765, he soon developed into an excellent violinist. His ambitions as a violinist were stimulated by his contact with the foremost virtuosos of his age. True, he admitted in a letter of November 22, 1777 that he was "no great lover of difficulties," and the technical demands of his violin compositions - the sonatas and the five violin concertos that he composed in 1775 for himself and for the Salzburg violinist Antonio Brunetti - do, in fact, mostly remain within certain limits. But during his time as leader of the Salzburg orchestra, if not earlier, he acquired an intimate understanding of the special idiom of the instrument.
In April 1784 the Italian violinist Regina Strinasacchi, then aged 20, visited Vienna. For her "academy" on April 29 Mozart wrote in the obligatory haste, his Sonata in B flat K. 454. He handed over the violin part to his fellow artist only on the evening before the concert. There was no time left to notate the keyboard part. However, Mozart managed the feat of performing it virtually extempore. At the concert he played just from a barren sketch containing a few annotations concerning accompanimental figures and modulations. Remarkably, the experiment succeeded. As a Viennese newspaper reported, the new sonata was received, in the presence of the Emperor, with "general approval."
Mozart's very high opinion of Regina Strinasacchi ("Her playing possesses much taste and sensitivity") was confirmed a year later by his father Leopold after a concert in Salzburg: "She puts her whole heart and soul into the melody she plays, and her tone-quality and strength of tone are equally fine. Indeed, I find that a talented woman plays more expressively than a man."
In Alfred Einstein's words, one passes "as if through a triumphal arch" from an impressive Largo to the main Allegro section of the first movement, which places the two partners in an absolutely ideal balance. The principle of dialogue, already present in earlier sonatas,
is now developed further in masterly fashion. However, the concertante element which (in tribute to the excellent young violinist) informs both the opening movement and the rondo with its brilliant coda also deserves mention.
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
❤ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Thank you from the bottom of my heart for the gift of beauty!!! Bravissimo!!!❤❤❤🎶👋👋👋
아름다운 연주곡 잘 들었습니다~감사합니다~🎵🎻🎹🌿🍀☘🌹🌹☘🍀🌿❤❤수고 많으셨습니다~☕
MERCI pour ce BEAU CADEAU🙏💗
Ces deux GRANDS ARTISTES auraient mérité une petite présentation 💜
Mozart Ahhhhhhh Thany you for the history details.🎼🎵🎹🎻The paino and violin are magical. REVERENCE ✨️ ❤️
Wonderful is an understatement ,imagining haskil as Mozart improvising impromptu with the written violin part , thanks for this present!
Благодарю !
Two of my favorites. Thanks!
Superb!
I always love the lovely music you offer to us. Thank you very much....
Thank you. Both great performers. Didactic information.Truly a treasure, thank you and congratulations.
10:30 that's when and how Mozart really gets inspired.. extraterrestrial
True, the whole thing from 10:32 until 11:53 is out of this world
magistral, fabulos!
Thank you 🥰
TY
💖💖💖💖💖💖💖
❤
Gostei.
👌👍🎼👏🎶🙏👋
❤💯
💜👂🏼💜
🌞🌹🌞
Colosal
Sonate gâchée par les publicités intempestives de UA-cam !!