Mozart’s violin sonatas, though light and easy to listen to, are hard to analyse and describe, which reflects the actual, extremely sophisticated and complex nature of this music. Of the vast multitude of ideas, each has influence on the originality of the form. Beethoven would break away from formal models in general. Mozart did the same on a

Mozart’s violin sonatas, though light and easy to listen to, are hard to analyse and describe, which reflects the actual, extremely sophisticated and complex nature of this music. Of the vast multitude of ideas, each has influence on the originality of the form. Beethoven would break away from formal models in general. Mozart did the same on a subtle local scale, nearly imperceptibly, through details and nuances. It is only on the level of expert interpretation that the composer’s genius can fully be revealed. They are all labelled by the composer as sonatas for piano and violin, and, indeed, we frequently get the impression that the piano plays the leading role. It opens sections, presents themes, shows off its unaffected, ‘rippling’ virtuosity. The violin (naturally an equal partner) frequently shapes the colour, or even functions as a ‘character instrument’. Altogether, these are fundamentally works meant to provide entertainment, but it is never a vain pastime. Music of such wealth and beauty is always first and foremost educational. It will very likely teach something different to everyone. Most of all, however, it undoubtedly represents a rich and noble spirit – not of any average person, but of a master and genius.