27/06/2025
Vi lasciamo il testo della recensione scritta da Fanfare Magazine (July/Aug 2025) per l'album ALC 0119 "Mozart Sonatas for fortepiano and violin vol.1"
--------------------------------------------------
CD Review by Bertil van Boer
MOZART Violin Sonatas: in F, K 374d; in C, K 296; in F, K 374e • David Plantier (vn); Costantino Mastroprimiano (fp) -
This disc appears to be the first of two devoted to the 1781 publication of Mozart’s sonatas for violin and keyboard (the actual title of the disc) under op. 2. The opus numbers, of course, have little meaning, given that we now use the Köchel numbers exclusively, though their designation here has some added if superficial historical purpose. The publisher, Artaria, no doubt had in mind the fact that Mozart had chosen perforce to stay in Vienna, and during the first couple of years was something of the latest composer flavor with the public. The works themselves, however, have a rather larger span of time: KV 296 was written in 1778, while the two others were probably written with their publication in mind the year in which they appeared.
Mozart’s violin sonatas have always been in the repertory, even though most of them are really keyboard works with a violin part that is often more accompanimental than a duo solo or equal partner. This was more or less common for the time, but it didn’t mean that the quality of the works was any lower, given that the two instruments must be closely attuned to each other. The violin sonatas have, of course, been recorded often before, either piecemeal or in sets. Moreover, good critical editions exist and these are often used as Urtext in programs. Many world-class violinists have recorded them at one time or another, such as Anne-Sophie Mutter and Lambert Orkis in 2006 on Deutsch Grammophon, or Isabelle Faust and Alexander Melnikov using period instruments on Harmonia Mundi, to name two; indeed, there is no lack of complete recordings available.
So, why would fortepianist Costantino Mastroprimiano and violinist David Plantier essay yet another cycle? To be sure, the aforementioned twist of using the original published opus numbers gives it a new focus, but here the issue lies in the almost infinite possibility of new interpretations. The rolling and quite flowing first movement of KV 374d is light and airy, with a good integration and phrasing. The sudden insertion of the minor key in the exposition is phrased particularly well. In the Andante, the violin has a sonorous and quite hidden accompaniment at the outset, but soon it emerges with a gentle and extremely lyrical tune, sharing the theme with the fortepiano. The limpid rondo is quite French in style, with a sort of folklike gesture in the theme that floats along in a lyrical fashion, only to be interrupted by sharper minor-key insertions. The earlier KV 296 begins in a manner with unison descents along the triad, and a main section that is both energetic and with relentless forward motion in the keyboard, while the violin is relegated to an accompanimental role. The Andante sostenuto is soft and pensive, with a fluid fortepiano theme to which the violin lurks in the background. The final rondo is the most concertante portion of this sonata, with a sustaining ostinato and a highly lyrical main theme bandied about between the instruments. The final sonata, KV 374e, scurries about most effectively at the opening, but then the violin has a more static line than the flurry of keyboard flashiness. It is like a fortepiano concerto, to which a violin has been added as an orchestra of one. I especially like the Italianate cadential figures. The simple tune of the second-movement variations offers a compendium of rhythmic and technical passagework, mainly for the fortepiano, including a rather harsh and implacable gigue. The final minuet, however, is also a set of variations, light and rhythmically conventional at the first section. Then the fortepiano increases the tension with flourishes and scalar patterns.
The performances by both Mastroprimiano and Plantier are uniformly excellent. Both players are in tune with each other musically, and their sense of interaction makes these sonatas come alive as complex and musically interesting works. The sound quality is fine, and I am impressed by the sensitivity of the phrasing. These are three outstanding performances, and if I have any criticism it is again the poverty-stricken contents of the short booklet notes. Perhaps Aulicus could invest a bit more in getting someone more versed in good writing, or alternatively use the performers, who would no doubt have considerable insights into the music. Still, I cannot wait for the next volume, given the excellence of this one. High recommendation of some iconic works. Bertil van Boer