In the final bars of the exposition, listen to the way the two voices enter into a game of imitation and joking one-upmanship. Alfred Einstein wrote, “one cannot conceive of any more perfect alternation between the two instruments than that of the first Allegro.” This Allegro sparkles with virtuosity and humor. In the final autograph manuscript, the violin and piano parts appear in different colors of ink and the piano notes occasionally run beyond the preset bar lines.įrom the slow opening introduction of the first movement, this Sonata is filled with an operatic sense of drama and conversation. Emperor Joseph II, looking through his opera glasses, discovered the ruse and later, perhaps teasingly, asked the composer to bring him the manuscript. In an attempt to fool the audience, he performed with empty sheet music on the piano. While the complete Sonata was fully composed in Mozart’s mind, he had not had the time to write down the piano part. On this date, 235 years ago, Mozart and Strinasacchi gave the first performance of the Violin Sonata No. He referred to Regina Strinasacchi, a young Italian violinist, guitarist, and singer who emerged from Venice’s Ospedale della Pietà-the school once led by Vivaldi. Mozart wrote these words in a letter to his father dated April 24, 1784. I am just now writing a sonata which we will play together in the theatre on Thursday at her benefit concert. She has much taste and feeling in her playing. We now have the famous Strinasacchi from Mantua here-a very good violinist.
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