0:54 A Major Sonata K305 16:30 C Major Sonata K303 26:56 E Flat Major Sonata K380 47:30 G Major Sonata K301 1:01:41 B Flat Major Sonata K378 1:22:02 F Major Sonata K376 1:39:52 E Flat Major Sonata K481 2:03:04 G Major Sonata K379
@@zecalimazeca There is no other chamber-music genre for which Mozart produced so many works - see the sonatas and variations - than that of the duos for piano and violin. He spent a considerable amount of time with the sonatas, probing every sound and every thematic limit and combination. He also explored the possibility of pairing off the two instruments, thus creating music of pure, timeless beauty bound with dramatic power, elegance and emotional depth. Volume II contains the six sonatas which Mozart had selected for publication in 1781 as Opus II by Artaria in Vienna. They are dedicated to his pupil Josepha Barbara Aurnhammer, a talented pianist.
Thank God for this wonderful partnership between Anne Sophie Mutter and Lambert Orkis and the way they bring to life the wonderful sonatas of Mozart. It reminds me that life is worth living.
@@KC-wn4hi the piano part is not an accompaniment. It is the principal instrument in is these duo sonatas. This is universally a huge mistake to perceive these as being violin pieces. They are not. Mozart in his own words on the title pages of all nineteen sonatas states them as being Sonatas for pianoforte with the accompaniment of a violin. His exact words. You hear this for yourself in these pieces. The Piano is the dominant instrument in these sonatas and carries the narrative. Anne Sophie Mutter is Intentionally misleading and deceiving her audience by misrepresenting these sonatas as being specifically violin centric pieces. That is why it is so confusing to audiences when these works are presented as violin sonatas rather than as Mozart intended sonatas for Pianoforte with the accompaniment of a violin. It is only in our time that violinist have hijacked these compositions because of the involvement of the violin with the piano. Violinist don’t want to be seen as playing second fiddle to another performer and are resentful of Mozart for creating these pieces for the piano with their instrument in a secondary role. The piano is the dominant instrument not just in the early sonatas. In the Violin Sonata in A major K. 526, which dates from the same year as Don Giovanni, 1787, the piano part is one of the most demanding that Mozart ever wrote in a keyboard work. Does this explain why violinists tend to prefer the concertos to the sonatas? Mozart speaks of the sonatas that he started in Mannheim in 1778 and completed in Paris as "keyboard duets with violin". How does one interpret this phrase today?
@@coralreef909 Not sure where Ms Mutter is seen as hijacking the concert. The camera focuses on her quite a bit but I'm not sure if we can blame her for it.
sonatas of Mozart and early sonatas of Beethoven were written at a time when the roles of the two instruments were genuinely the opposite of what they are today. Witness Mozart writing to his father in April 1781 about a concert that included three new works: “A rondo for a concerto for Brunetti; a sonata with violin accompaniment for myself, which I composed last night between eleven and twelve (but in order to be able to finish it, I only wrote out the accompaniment for Brunetti and retained my own part in my head); and then a rondo for Ceccarelli”. And George Bridgetower, who gave the first performance of Beethoven’s concerto-like Kreutzer Sonata, referred to himself as having “accompanied” Beethoven at the piano, rather than the other way around. Brahms revisited the old style when he came to write his sonatas for violin and piano. Only in his late clarinet sonatas does the piano get second billing. The composer’s clear distinctions, however, are rarely heeded by performers today. So why do modern players typically treat the violin as being more important than the piano in works that Mozart and his contemporaries viewed the other way around? Well, the late 18th-century was awash with music that no one pays any attention to today, written for keyboard with dispensable accompaniments for other instruments. The unequal division of labour that made these works so attractive to the amateur players of the time is the very feature that renders them of little interest to professional performers today. The accompaniments, written to be graspable by players of limited ability, are often bland and inconspicuous. Contemporary accounts suggest that the more demanding keyboard parts were intended for the daughters of well-heeled families, for whom music was expected to help in finding a husband, the accompaniments for the sons, for whom music was less important. ‘That venerable shivaree’ Strangely, one of the most enduring of these works surfaced first in Ireland. The crudely pictorial Battle of Prague by Frantisek Kotzwara was published in Dublin in 1788, for keyboard (piano or harpsichord) with ad lib parts for violin, cello and drum. It went on to be a major success on both sides of the Atlantic, and was reprinted in more than 40 editions. It’s even mentioned in Mark Twain’s A Tramp Abroad as “that venerable shivaree”. It’s so truly awful, you’ll have no difficulty seeing why the tradition it represents is now neglected. You can check it out on UA-cam if you dare. Kotzwara’s greater claim to fame is his death, in the presence of a prostitute, by erotic asphyxiation. The next Insights talk, On Wings of Song, Music and the Lyric Poet, is given by Virginia Kerr on Wednesday, March 18th
¡qué magnífica presentación de Anne Sophie Mutter y Lambert Orkis! El genio de Mozart, siempre inagotable, como un pozo en las honduras profundas del mar!
There is no other chamber-music genre for which Mozart produced so many works - see the sonatas and variations - than that of the duos for piano and violin. He spent a considerable amount of time with the sonatas, probing every sound and every thematic limit and combination. He also explored the possibility of pairing off the two instruments, thus creating music of pure, timeless beauty bound with dramatic power, elegance and emotional depth. Volume II contains the six sonatas which Mozart had selected for publication in 1781 as Opus II by Artaria in Vienna. They are dedicated to his pupil Josepha Barbara Aurnhammer, a talented pianist.
That’s because the piano is the featured instrument. I know you are confused but Mozart wrote for his own instrument with violin part being an accompaniment. The violin parts are beautiful but it is piano that is the intended star in these sonatas. These pieces may more rightly belong in a piano recital than they are presented here. Mozart’s original title for all nineteen sonatas are Sonatas for Pianoforte with the accompaniment of a violin. The piano is the dominant instrument with the violin in a supporting role. So these sonatas are being presented by the violin accompanist. You’re expecting to hear the violin leading but instead it’s the piano that your hear. Ms Mutter has a huge ego BTW. Prima Donna complex.
@@trevorallen7611 sort of it’s all about me, l’m the centre of attention. Sucks all the oxygen out the room. Would make more sense if she were the pianist in these sonatas. You need to pour through some of Wolfgang’s letters to his father Leopold Mozart regarding these sonata’s to realize the keyboard centrism of these works. He wrote solo keyboard sonatas but the sonatas with violin were also regarded as keyboard sonatas with obligatory violin far from what Ms. Mutter attempts to present here. Trying to reverse the roles damages the music and confuses listeners. Other violinist are guilty of the same artistic sin, so are recording companies. The existence of the solo keyboard sonata may be clouding our understanding of these pieces.
The violin accompaniments are well memorized. Her colleague Orkis is actually the star in these sonatas. Mozart never intended for his keyboard dominant sonatas to be called or presented as being for the violin. Mozart’s sonatas title pages are Sonatas for Pianoforte with the accompaniment of a violin. His exact words. The music speaks for itself.
The violin accompanist making herself the featured performer in Mozart’s keyboard sonatas with violin. Shouldn’t Orkis be presented as the star performer? Mozart’s sonatas for Pianoforte with the accompaniment of a violin. Mozart’s original title for all his piano sonatas with violin. These sonatas are distinct from his sonatas for solo piano. They are chamber compositions for the piano much in keeping with the piano trios,quartets and quintets.
The piano is the dominant instrument not just in the early sonatas. In the Violin Sonata in A major K. 526, which dates from the same year as Don Giovanni, 1787, the piano part is one of the most demanding that Mozart ever wrote in a keyboard work. Does this explain why violinists tend to prefer the concertos to the sonatas? Mozart speaks of the sonatas that he started in Mannheim in 1778 and completed in Paris as "keyboard duets with violin". How does one interpret this phrase today? Anna Sophie Mutter goes out her way to frame Mozart’s Sonatas for Piano with the accompaniment of a violin as being violin specific sonatas. Ms Mutter, they are Not nor did Mozart ever intend them to be. Only K. 454 was dedicated to a violinist with whom Mozart played a joint recital where he said he retained his part in his head and only had time to write out the violin accompaniment. Your revisionist history of Mozart’s sonatas is shameful and disrespectful of the composer’s intent. You and so many other violinist are guilty of this charge.
Ahh Mozart sonando como debe sonar, es decir con un Stradivarii sin cuerdas de tripa y un piano moderno y no esos pianuchos cuyo sonido causa dolor de oídos por lo feo y desafinado.
There is no other chamber-music genre for which Mozart produced so many works - see the sonatas and variations - than that of the duos for piano and violin. He spent a considerable amount of time with the sonatas, probing every sound and every thematic limit and combination. He also explored the possibility of pairing off the two instruments, thus creating music of pure, timeless beauty bound with dramatic power, elegance and emotional depth. Volume II contains the six sonatas which Mozart had selected for publication in 1781 as Opus II by Artaria in Vienna. They are dedicated to his pupil Josepha Barbara Aurnhammer, a talented pianist.
0:54 A Major Sonata K305
16:30 C Major Sonata K303
26:56 E Flat Major Sonata K380
47:30 G Major Sonata K301
1:01:41 B Flat Major Sonata K378
1:22:02 F Major Sonata K376
1:39:52 E Flat Major Sonata K481
2:03:04 G Major Sonata K379
Perfect, thank you
@@zecalimazeca There is no other chamber-music genre for which Mozart produced so many works - see the sonatas and variations - than that of the duos for piano and violin. He spent a considerable amount of time with the sonatas, probing every sound and every thematic limit and combination. He also explored the possibility of pairing off the two instruments, thus creating music of pure, timeless beauty bound with dramatic power, elegance and emotional depth. Volume II contains the six sonatas which Mozart had selected for publication in 1781 as Opus II by Artaria in Vienna. They are dedicated to his pupil Josepha Barbara Aurnhammer, a talented pianist.
Thank God for this wonderful partnership between Anne Sophie Mutter and Lambert Orkis and the way they bring to life the wonderful sonatas of Mozart. It reminds me that life is worth living.
Gracias por existir Wolfgang Amadeus Mozart ❤️
Ok, everybody is probably here because of Mutter, but seriously, Orkis' performance is way TOO GOOD not to comment too!!
Yes !! He is a good accompanist, i love both of them ❤❤❤
I come to hear because of L.Orkis only
@@esfirross6800 hahaha me too!
@@KC-wn4hi the piano part is not an accompaniment. It is the principal instrument in is these duo sonatas. This is universally a huge mistake to perceive these as being violin pieces. They are not. Mozart in his own words on the title pages of all nineteen sonatas states them as being Sonatas for pianoforte with the accompaniment of a violin. His exact words. You hear this for yourself in these pieces. The Piano is the dominant instrument in these sonatas and carries the narrative. Anne Sophie Mutter is Intentionally misleading and deceiving her audience by misrepresenting these sonatas as being specifically violin centric pieces. That is why it is so confusing to audiences when these works are presented as violin sonatas rather than as Mozart intended sonatas for Pianoforte with the accompaniment of a violin. It is only in our time that violinist have hijacked these compositions because of the involvement of the violin with the piano. Violinist don’t want to be seen as playing second fiddle to another performer and are resentful of Mozart for creating these pieces for the piano with their instrument in a secondary role.
The piano is the dominant instrument not just in the early sonatas. In the Violin Sonata in A major K. 526, which dates from the same year as Don Giovanni, 1787, the piano part is one of the most demanding that Mozart ever wrote in a keyboard work. Does this explain why violinists tend to prefer the concertos to the sonatas?
Mozart speaks of the sonatas that he started in Mannheim in 1778 and completed in Paris as "keyboard duets with violin". How does one interpret this phrase today?
@@coralreef909 Not sure where Ms Mutter is seen as hijacking the concert. The camera focuses on her quite a bit but I'm not sure if we can blame her for it.
sonatas of Mozart and early sonatas of Beethoven were written at a time when the roles of the two instruments were genuinely the opposite of what they are today.
Witness Mozart writing to his father in April 1781 about a concert that included three new works: “A rondo for a concerto for Brunetti; a sonata with violin accompaniment for myself, which I composed last night between eleven and twelve (but in order to be able to finish it, I only wrote out the accompaniment for Brunetti and retained my own part in my head); and then a rondo for Ceccarelli”. And George Bridgetower, who gave the first performance of Beethoven’s concerto-like Kreutzer Sonata, referred to himself as having “accompanied” Beethoven at the piano, rather than the other way around.
Brahms revisited the old style when he came to write his sonatas for violin and piano. Only in his late clarinet sonatas does the piano get second billing. The composer’s clear distinctions, however, are rarely heeded by performers today.
So why do modern players typically treat the violin as being more important than the piano in works that Mozart and his contemporaries viewed the other way around? Well, the late 18th-century was awash with music that no one pays any attention to today, written for keyboard with dispensable accompaniments for other instruments. The unequal division of labour that made these works so attractive to the amateur players of the time is the very feature that renders them of little interest to professional performers today. The accompaniments, written to be graspable by players of limited ability, are often bland and inconspicuous. Contemporary accounts suggest that the more demanding keyboard parts were intended for the daughters of well-heeled families, for whom music was expected to help in finding a husband, the accompaniments for the sons, for whom music was less important.
‘That venerable shivaree’
Strangely, one of the most enduring of these works surfaced first in Ireland. The crudely pictorial Battle of Prague by Frantisek Kotzwara was published in Dublin in 1788, for keyboard (piano or harpsichord) with ad lib parts for violin, cello and drum. It went on to be a major success on both sides of the Atlantic, and was reprinted in more than 40 editions. It’s even mentioned in Mark Twain’s A Tramp Abroad as “that venerable shivaree”. It’s so truly awful, you’ll have no difficulty seeing why the tradition it represents is now neglected. You can check it out on UA-cam if you dare. Kotzwara’s greater claim to fame is his death, in the presence of a prostitute, by erotic asphyxiation. The next Insights talk, On Wings of Song, Music and the Lyric Poet, is given by Virginia Kerr on Wednesday, March 18th
Tyvm
¡qué magnífica presentación de Anne Sophie Mutter y Lambert Orkis! El genio de Mozart, siempre inagotable, como un pozo en las honduras profundas del mar!
Beautiful
Bravo! Agradecida aos envolvidos!
Absolute mastery performance.
Simplemente maravilloso
Maravilhoso! Um deleite total.
Hola muy buenos días ,escuchando algo que me apasiona la música y sobre todo Mozart .gracias
Excellent performance (Y)
There is no other chamber-music genre for which Mozart produced so many works - see the sonatas and variations - than that of the duos for piano and violin. He spent a considerable amount of time with the sonatas, probing every sound and every thematic limit and combination. He also explored the possibility of pairing off the two instruments, thus creating music of pure, timeless beauty bound with dramatic power, elegance and emotional depth. Volume II contains the six sonatas which Mozart had selected for publication in 1781 as Opus II by Artaria in Vienna. They are dedicated to his pupil Josepha Barbara Aurnhammer, a talented pianist.
Bella la música, bellísima la violinista, bello el violín Stradivarii...
and an excellent pianist
Wonderful!!
Bravissima e bellissima ❤
Maravilloso!!! Gracias
ムッターの素晴らしさに加え、オーキス（？）のPIANOにも感動した。
B Flat Major Sonata KV 378 (1:01:41) ist wundervoll gespielt ❤🌹🌹🌹
Insurpassable élégance de Mozart
👏👏👏👏👏👏👏 Bravo !!!
A Very good interpretation 🎻🎹
2 maestri!!!
Sonata violino e piano k 303 incantevole.
Sonata for Pianoforte with the accompaniment of a violin. K.303 in C major.
❤❤❤
Lovely performance --Mutter is superb. The piano is too big, but the duet still works very well and the pianist is quite good
That’s because the piano is the featured instrument. I know you are confused but Mozart wrote for his own instrument with violin part being an accompaniment. The violin parts are beautiful but it is piano that is the intended star in these sonatas. These pieces may more rightly belong in a piano recital than they are presented here. Mozart’s original title for all nineteen sonatas are Sonatas for Pianoforte with the accompaniment of a violin. The piano is the dominant instrument with the violin in a supporting role. So these sonatas are being presented by the violin accompanist. You’re expecting to hear the violin leading but instead it’s the piano that your hear. Ms Mutter has a huge ego BTW. Prima Donna complex.
@@coralreef909watching interviews of her I did not get that impression at all.
@@trevorallen7611 sort of it’s all about me, l’m the centre of attention. Sucks all the oxygen out the room. Would make more sense if she were the pianist in these sonatas. You need to pour through some of Wolfgang’s letters to his father Leopold Mozart regarding these sonata’s to realize the keyboard centrism of these works. He wrote solo keyboard sonatas but the sonatas with violin were also regarded as keyboard sonatas with obligatory violin far from what Ms. Mutter attempts to present here. Trying to reverse the roles damages the music and confuses listeners. Other violinist are guilty of the same artistic sin, so are recording companies. The existence of the solo keyboard sonata may be clouding our understanding of these pieces.
This program seemed to be pretty extreme that they played the whole sonata set while Mutter memorized all of it? It's more than two hours!
Ella memoriza eso y mucho mas.
They cut out some brakes, I assume she reviewed each sonata before going out
@@shaihazony7491 photographic memory?
watch --she looks at the music on the piano multiple times
The violin accompaniments are well memorized. Her colleague Orkis is actually the star in these sonatas. Mozart never intended for his keyboard dominant sonatas to be called or presented as being for the violin. Mozart’s sonatas title pages are Sonatas for Pianoforte with the accompaniment of a violin. His exact words. The music speaks for itself.
EXCELENTE ANA SOFIA MOZART Y VIENA. DON GERMAN2020
❣
00:55
Like.
Que se sentirá tocar espectacular así? Algún día. Yo tengo todas las partituras creo por si alguien necesita
Hola, tendras las partituras para violin?
@@Scalper45 si
28:11 29:51 32:44 pure fireworks 🎆 🎆
34:30
Wow
47:25
This one is my favorite
2:02:49 Sonata G-Dur
The violin accompanist making herself the featured performer in Mozart’s keyboard sonatas with violin. Shouldn’t Orkis be presented as the star performer?
Mozart’s sonatas for Pianoforte with the accompaniment of a violin. Mozart’s original title for all his piano sonatas with violin. These sonatas are distinct from his sonatas for solo piano. They are chamber compositions for the piano much in keeping with the piano trios,quartets and quintets.
If she made herself it you rebut your “undeniable” point of view, lol
856.
The piano is the dominant instrument not just in the early sonatas. In the Violin Sonata in A major K. 526, which dates from the same year as Don Giovanni, 1787, the piano part is one of the most demanding that Mozart ever wrote in a keyboard work. Does this explain why violinists tend to prefer the concertos to the sonatas?
Mozart speaks of the sonatas that he started in Mannheim in 1778 and completed in Paris as "keyboard duets with violin". How does one interpret this phrase today?
Anna Sophie Mutter goes out her way to frame Mozart’s Sonatas for Piano with the accompaniment of a violin as being violin specific sonatas. Ms Mutter, they are Not nor did Mozart ever intend them to be. Only K. 454 was dedicated to a violinist with whom Mozart played a joint recital where he said he retained his part in his head and only had time to write out the violin accompaniment. Your revisionist history of Mozart’s sonatas is shameful and disrespectful of the composer’s intent. You and so many other violinist are guilty of this charge.
Shut up shut up why is your comment 15 times repeated
No se los intérpretes pero Mozard ilustra un diálogo entre el piano y violin. Creo que un piano de cola hubiera estado mejor
troppo lungo
dovevate fare dei tagli\
It's me, or the "f"s are wider than the normal?
Because it is a German violin. The f hole is the widest compare to other makes.
Germam made violins have wide f hole.
@@canman5060 isnt it a strad?
@@daniel3231995 yep either Lord Dunn Raven Stradivarius or Emiliani Stradivarius as she plays on both I’ve heard
Ahh Mozart sonando como debe sonar, es decir con un Stradivarii sin cuerdas de tripa y un piano moderno y no esos pianuchos cuyo sonido causa dolor de oídos por lo feo y desafinado.
Bravooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo.........................................
No suena como otros pianos de cola acorde al violin
There is no other chamber-music genre for which Mozart produced so many works - see the sonatas and variations - than that of the duos for piano and violin. He spent a considerable amount of time with the sonatas, probing every sound and every thematic limit and combination. He also explored the possibility of pairing off the two instruments, thus creating music of pure, timeless beauty bound with dramatic power, elegance and emotional depth. Volume II contains the six sonatas which Mozart had selected for publication in 1781 as Opus II by Artaria in Vienna. They are dedicated to his pupil Josepha Barbara Aurnhammer, a talented pianist.
Idk about emotional depth. All the emotion is “I like being Mozart and I’m going to play like a puppy”. That said, puppies are the best.