Mozart - Violin Sonata No. 19 in E♭ major, K. 302 (1778)

 

Drawing of Mozart in silverpoint,

made by Dora Stock during Mozart's visit

to Dresden, April 1789

Wolfgang Amadeus Mozart[a] (27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart,[b] was a prolific and influential composer of the Classical period.

 

요제프 하이든과 더불어 18세기 빈 고전주의 악파의 대표적인 인물이며, 오페라, 실내악, 교향곡, 피아노 협주곡 등 여러 양식에 걸쳐 방대한 작품을 남겨 전시대를 통틀어 음악의 천재 중 한 사람으로 알려졌다.
1762년 첫번째 음악 여행에서 요한 크리스티안 바흐를 만났고 거기서 그의 첫번째 교향곡을 썼다. 1769년 이탈리아 여행에서 하이든의 현악 4중주를 보았고 첫번째 이탈리안 오페라를 썼다. 1780년대 후반 〈피가로의 결혼〉·〈돈 조반니〉·〈코지 판 투테〉등의 작품으로 그는 최고의 성공을 거두었다. 모차르트는 35살에 병으로 죽었는데, 이처럼 짧은 생애 동안 위대한 업적을 남긴 작곡가는 없다. [다음백과]

Violin Sonata No. 19 in E♭ major, K. 302 (1778)

Violin Sonata No. 19 in E-Flat Major (K 302/293b) was composed by Wolfgang Amadeus Mozart in March 1778 in Mannheim, Germany and was first published in the same year as part of Mozart's Opus 1 collection, which was dedicated to Maria Elisabeth, Electress of the Palatinate and are concequently known as the Palatine Sonatas. The work consists of two movements: 1.Allegro 2.Andante Grazioso

Description by Brian Robins

The second of a group of six sonatas for keyboard and violin (K. 301 - K. 306) published in Paris in 1778, the G Major Sonata was composed in Mannheim in the spring of 1778. All six were written during the course of the long journey to Mannheim and Paris undertaken by Mozart (in the company of his mother Maria Anna) during 1777 and 1778. They appear to have gained their impetus from a set of sonatas by the Dresden Kapellmeister Joseph Schuster (1748-1812), which Mozart heard and played in Munich, the first stop made on the tour. In a letter to his father Leopold (the relevant passage is quoted in full in the entry for K. 301), Mozart explains that he will compose some sonatas in a similar style "if he has time" before leaving Munich. In fact he and his mother left the Bavarian city shortly afterwards, but it was presumably the model of Schuster's sonatas he had in mind when he returned to the idea in Mannheim. The novelty of Schuster's works lay not only in their exploration of a combination of German, French and Italian traits (he had studied in Italy), but also in the greater degree of equality between the two instruments than was usual in a genre in which the dominance of the keyboard part was taken for granted, a dominance still implied by the order in which the

 instruments were listed in all such works.

 

Like all but the final sonata, K. 302 is in only two movements, the preferred form of composers like J. C. Bach. Here an Allegro is followed by a Rondeau marked Andante grazioso, a movement in which Mozart highlights the increasing tendency to attain equality between the instruments by alternating the theme between the piano alone and the violin. The six sonatas K. 301-K. 306 were published as "Opus 1, No's 1-6," a confusing designation since the rubric "Op. 1" had already been used for the childhood set of sonatas also published in Paris in 1764. The title page bears a dedication to Maria Elisabeth, Electress of the Palatinate, the origination of the frequently used designation "Palatine Sonatas." [2018. 5. 24]