Mozart was thus an excellent pianist who also played the violin, we may conjecture that he set greater store by harmonic fullness and clearly understandable part-writing on the string instrument than someone who was a fiddler by nature. My reflections build on this notion of ‘packing away the violin’. Again and again his father encouraged him, sometimes seriously, sometimes in jest, not entirely to forget the violin: ‘Only the violin has been packed away: that I can well imagine’ (27 November 1777). In the correspondence between Leopold and Wolfgang Amadeus Mozart two things are clear: first of all, that the son was an excellent violinist, at least in the first half of the 1770s and secondly, that he nevertheless felt closer to the piano. But how would Mozart have realised melody and harmony on a single string instrument? To what extent did he insert double stops and chords in the cadenzas of his violin concertos alongside virtuoso figuration? We do not know. They are laid out as duets for the twosolo instruments, violin and viola, with the viola at once in motivic dialogue with th e violin and, whenever necessary, taking overthe function of the bass. His only two string cadenzas are found in the Sinfonia Concertante K364/32od. How might they have sounded? Mozart wrote no unaccompanied violin music from whose idiom one may draw any conclusions. ‘Only the violin has been packed away’ notes on my cadenzas and Eingängeįor none of the works recorded here do cadenzas or Eingänge 1 by the composer exist. Adagio for Violin and Orchestra in E Major, K.Rondo for Violin and Orchestra in C Major, K.Rondo for Violin and Orchestra in B-Flat Major, K.
0 kommentar(er)
