Full Album available // Mozart: The Violin Sonatas Arthur Grumiaux Clara Haskil 🎧 Qobuz cutt.ly/zeNjVU4Q Tidal cutt.ly/reNjVLas 🎧 Apple Music cutt.ly/AeNjV4hB Deezer cutt.ly/meNjBdBL 🎧 Amazon Music cutt.ly/1eNjBL2G Spotify cutt.ly/5eNjB6Hp 🎧 RUclips Music cutt.ly/MeNjNafH SoundCloud cutt.ly/leNjNxxW Wolfgang Amadeus Mozart (1756-1791) Violin Sonata in B flat Major K. 378 Click to activate the English subtitles for the presentation (00:00-02:45) 00:00 Violin Sonata in B flat Major K. 378 - I. Allegro moderato (Remastered 2021) 06:00 Violin Sonata in B flat Major K. 378 - II. Andantino sostenuto e cantabile (Remastered 2021) 10:49 Violin Sonata in B flat Major K. 378 - III. Rondo, Allegro (Remastered 2021) Violin Sonata K. 304, K. 376, K. 301, K. 454, K. 526 also available. The remastered compilation of all the sonatas performed by Haskil/Grumiaux is available on youtube music ruclips.net/video/O1LzqhWztok/видео.html or on the main platforms by clicking on the links above. Violin: Arthur Grumiaux Piano: Clara Haskil Recorded in 1958, 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 Mozart wrote his Sonata in B-Flat Major, K. 378, in 1779, after his return to Salzburg from the abortive journey to Mannheim and Paris. It was the earliest of the sonatas to be included in Artaria's published set of Opus 11 in 1781. In these works, he opted once and for all for the Italian three-movement form already used by Schuster, abandoning the scheme of two juxtaposed fast movements, highly fashionable in Mannheim and Paris, which is characteristic of the Palatine Sonatas (except K306). The result is an amplification of dramaturgy and contrasts. Hence the Andantino e sostenuto of the Sonata K378 contrasts with the more technical and brilliant aspects of its fast outer movements, favouring a broad, vocal expressiveness that Schubert was to bear in mind when he came to write his songs. The moment of poetic suspension over a triplet accompaniment on the piano foreshadows ‘moonlit’ passages such as the death of the Commendatore in Don Giovanni, whose framework Beethoven was to take up for his famous ‘Moonlight’ Sonata. To us, with the benefit of hindsight, this movement already appears Romantic. In contrast, the Rondeau launches into an agile, leaping triple time and soars aloft in its central section in common time, with the keyboard often accompanying in Alberti basses (arpeggio figuration supporting the melody). The balance of the modern sonata stands fully revealed here: we are far indeed from the aesthetic of the keyboard sonata ‘with violin accompaniment’. The opening Allegro moderato brings the principal theme at first on the keyboard, followed by the violin. Something of the same procedure is followed in the introduction of the second subject, with an increase in dramatic tension through the subsequent choices of key. The development makes use of those wide leaps on the violin that characterise certain writing of the period, echoed by a similar use of the keyboard. The principal theme of the slow movement, entrusted to the violin on its reappearance, frames a central section of greater tension, moving briefly away form the key of E Flat in which it is set. This is followed by the final Rondeau with a principal theme based on the notes of the arpeggio, with one episode in G minor and a second in an energetic triplet rhythm before the return of the opening theme played in imitation by keyboard and violin. 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 🎧 RUclips 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): ruclips.net/video/dCi2bMeYqTk/видео.html
The 3rd movement is a beautiful seemingly effortless piece but quite complex and gorgeously played. Indeed the violin & piano weave & spin with mesmerising grace. 💜💜
Wonderful music, superb interpretation, lovely remastering. The recording sounds so fresh and clear that I'm amazed it was more than 60 years ago that these great musicians Haskil/Grumiaux were playing and recording this glorious music. Thank you so much for this post.
Mozart wrote his Sonata in B-Flat Major, K. 378, in 1779, after his return to Salzburg from the abortive journey to Mannheim and Paris. It was the earliest of the sonatas to be included in Artaria's published set of Opus 11 in 1781. In these works, he opted once and for all for the Italian three-movement form already used by Schuster, abandoning the scheme of two juxtaposed fast movements, highly fashionable in Mannheim and Paris, which is characteristic of the Palatine Sonatas (except K306). The result is an amplification of dramaturgy and contrasts. Hence the Andantino e sostenuto of the Sonata K378 contrasts with the more technical and brilliant aspects of its fast outer movements, favouring a broad, vocal expressiveness that Schubert was to bear in mind when he came to write his songs. The moment of poetic suspension over a triplet accompaniment on the piano foreshadows ‘moonlit’ passages such as the death of the Commendatore in Don Giovanni, whose framework Beethoven was to take up for his famous ‘Moonlight’ Sonata. To us, with the benefit of hindsight, this movement already appears Romantic. In contrast, the Rondeau launches into an agile, leaping triple time and soars aloft in its central section in common time, with the keyboard often accompanying in Alberti basses (arpeggio figuration supporting the melody). The balance of the modern sonata stands fully revealed here: we are far indeed from the aesthetic of the keyboard sonata ‘with violin accompaniment’. The opening Allegro moderato brings the principal theme at first on the keyboard, followed by the violin. Something of the same procedure is followed in the introduction of the second subject, with an increase in dramatic tension through the subsequent choices of key. The development makes use of those wide leaps on the violin that characterise certain writing of the period, echoed by a similar use of the keyboard. The principal theme of the slow movement, entrusted to the violin on its reappearance, frames a central section of greater tension, moving briefly away form the key of E Flat in which it is set. This is followed by the final Rondeau with a principal theme based on the notes of the arpeggio, with one episode in G minor and a second in an energetic triplet rhythm before the return of the opening theme played in imitation by keyboard and violin. 🔊 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
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Full Album available // Mozart: The Violin Sonatas Arthur Grumiaux Clara Haskil
🎧 Qobuz cutt.ly/zeNjVU4Q Tidal cutt.ly/reNjVLas
🎧 Apple Music cutt.ly/AeNjV4hB Deezer cutt.ly/meNjBdBL
🎧 Amazon Music cutt.ly/1eNjBL2G Spotify cutt.ly/5eNjB6Hp
🎧 RUclips Music cutt.ly/MeNjNafH SoundCloud cutt.ly/leNjNxxW
Wolfgang Amadeus Mozart (1756-1791) Violin Sonata in B flat Major K. 378
Click to activate the English subtitles for the presentation (00:00-02:45)
00:00 Violin Sonata in B flat Major K. 378 - I. Allegro moderato (Remastered 2021)
06:00 Violin Sonata in B flat Major K. 378 - II. Andantino sostenuto e cantabile (Remastered 2021)
10:49 Violin Sonata in B flat Major K. 378 - III. Rondo, Allegro (Remastered 2021)
Violin Sonata K. 304, K. 376, K. 301, K. 454, K. 526 also available. The remastered compilation of all the sonatas performed by Haskil/Grumiaux is available on youtube music ruclips.net/video/O1LzqhWztok/видео.html or on the main platforms by clicking on the links above.
Violin: Arthur Grumiaux
Piano: Clara Haskil
Recorded in 1958, 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
Mozart wrote his Sonata in B-Flat Major, K. 378, in 1779, after his return to Salzburg from the abortive journey to Mannheim and Paris. It was the earliest of the sonatas to be included in Artaria's published set of Opus 11 in 1781. In these works, he opted once and for all for the Italian three-movement form already used by Schuster, abandoning the scheme of two juxtaposed fast movements, highly fashionable in Mannheim and Paris, which is characteristic of the Palatine Sonatas (except K306). The result is an amplification of dramaturgy and contrasts. Hence the Andantino e sostenuto of the Sonata K378 contrasts with the more technical and brilliant aspects of its fast outer movements, favouring a broad, vocal expressiveness that Schubert was to bear in mind when he came to write his songs.
The moment of poetic suspension over a triplet accompaniment on the piano foreshadows ‘moonlit’ passages such as the death of the Commendatore in Don Giovanni, whose framework Beethoven was to take up for his famous ‘Moonlight’ Sonata. To us, with the benefit of hindsight, this movement already appears Romantic. In contrast, the Rondeau launches into an agile, leaping triple time and soars aloft in its central section in common time, with the keyboard often accompanying in Alberti basses (arpeggio figuration supporting the melody). The balance of the modern sonata stands fully revealed here: we are far indeed from the aesthetic of the keyboard sonata ‘with violin accompaniment’.
The opening Allegro moderato brings the principal theme at first on the keyboard, followed by the violin. Something of the same procedure is followed in the introduction of the second subject, with an increase in dramatic tension through the subsequent choices of key. The development makes use of those wide leaps on the violin that characterise certain writing of the period, echoed by a similar use of the keyboard.
The principal theme of the slow movement, entrusted to the violin on its reappearance, frames a central section of greater tension, moving briefly away form the key of E Flat in which it is set. This is followed by the final Rondeau with a principal theme based on the notes of the arpeggio, with one episode in G minor and a second in an energetic triplet rhythm before the return of the opening theme played in imitation by keyboard and violin.
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
🎧 RUclips 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): ruclips.net/video/dCi2bMeYqTk/видео.html
An incredible combination! Grumiaux and Haskil can't be beaten when it comes to Mozart. They are the personification of Mozart's brilliant works.
Grumiaux and Haskil in Mozart. A match in musical heaven.
The 3rd movement is a beautiful seemingly effortless piece but quite complex and gorgeously played. Indeed the violin & piano weave & spin with mesmerising grace. 💜💜
Wonderful music, superb interpretation, lovely remastering. The recording sounds so fresh and clear that I'm amazed it was more than 60 years ago that these great musicians Haskil/Grumiaux were playing and recording this glorious music. Thank you so much for this post.
Mozart wrote his Sonata in B-Flat Major, K. 378, in 1779, after his return to Salzburg from the abortive journey to Mannheim and Paris. It was the earliest of the sonatas to be included in Artaria's published set of Opus 11 in 1781. In these works, he opted once and for all for the Italian three-movement form already used by Schuster, abandoning the scheme of two juxtaposed fast movements, highly fashionable in Mannheim and Paris, which is characteristic of the Palatine Sonatas (except K306). The result is an amplification of dramaturgy and contrasts. Hence the Andantino e sostenuto of the Sonata K378 contrasts with the more technical and brilliant aspects of its fast outer movements, favouring a broad, vocal expressiveness that Schubert was to bear in mind when he came to write his songs.
The moment of poetic suspension over a triplet accompaniment on the piano foreshadows ‘moonlit’ passages such as the death of the Commendatore in Don Giovanni, whose framework Beethoven was to take up for his famous ‘Moonlight’ Sonata. To us, with the benefit of hindsight, this movement already appears Romantic. In contrast, the Rondeau launches into an agile, leaping triple time and soars aloft in its central section in common time, with the keyboard often accompanying in Alberti basses (arpeggio figuration supporting the melody). The balance of the modern sonata stands fully revealed here: we are far indeed from the aesthetic of the keyboard sonata ‘with violin accompaniment’.
The opening Allegro moderato brings the principal theme at first on the keyboard, followed by the violin. Something of the same procedure is followed in the introduction of the second subject, with an increase in dramatic tension through the subsequent choices of key. The development makes use of those wide leaps on the violin that characterise certain writing of the period, echoed by a similar use of the keyboard.
The principal theme of the slow movement, entrusted to the violin on its reappearance, frames a central section of greater tension, moving briefly away form the key of E Flat in which it is set. This is followed by the final Rondeau with a principal theme based on the notes of the arpeggio, with one episode in G minor and a second in an energetic triplet rhythm before the return of the opening theme played in imitation by keyboard and violin.
🔊 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
Wonderful commentary on the work
@@vijinanadu1962 thanks :)
아름다운 연주곡 잘 들었습니다~감사합니다~🎵🎻🎹🌿🍀☘🌹🌹☘🍀🌿❤❤수고 많으셨습니다~☕
Thanks for the great music!!! BRAVO!!!
Haskil and Grumiaux was an exellent combination!
So beautiful, also the music and also the interpretation by these two wonderfull musicians!
They where the greatist
duo!!!❤❤
To me,the best interpretation of this heavenly sonata...Full of soul...thank you!
🕊💪🕊
This is
ABSOLUTELY BEAUTIFUL
🙏💜🙏
💜🎵💜
¡¡¡¡¡HERMOSO!!!!
The sound of Spring is like the warm sunlight.
Magnifique Musique Mozart 👍 Merci pour uploading
Wonderful. Thanks so much.
très bien !
Magnificent!
O mestre dos mestres da 🎶:WOLFGANG AMADEUS MOZART!!!!!!!!!!!!!!!!!
Superb!
La perfection !
So beautiful, really heart touching 💕
TY. Again.
Elegant
Esto si es música arte no Karol G ahora dirian que Karol G es mejor que Freddie Mercury o Mozart