Mozart / Savary / Sareika- Piano & Violin Sonatas
After their album devoted to the Sonatas of Grieg, the Latvian violinist Vineta Sareika and the French pianist Amandine Savary tackle Mozart for their second recording. In three sonatas of markedly different characters, the two former partners of the Trio Dali have retained their perfect harmony for performing and indeed producing a major version of these works. If the first sonata on this album, the Sonata K. 376, has no great formal originality, the dialogue between the violin and the piano is intensely varied and overall the work develops both charm and considerable tranquillity. Dating from the same year, the Sonata K. 379 was composed very rapidly; Mozart asserts he wrote it in an hour, without having the time to write down on paper the piano part that he performed from memory at it's first performance the next day. Despite these unusual circumstances, it is one of the most beautiful and original of his works for piano and violin. Composed a few days after the Little Night Music, the Sonata K. 526 is one of his most dazzling compositions, with big movements in exceptionally quick tempi; there reigns here the permanent impression that the composer is delighting in his natural mastery of counterpoint and his art, uniquely so. Vineta Sareika and Amandine Savary demonstrate once again a sublime, jubilant feeling for chamber music. As for their preceding collaboration: "The symbiosis is perfect between two musicians. The vital, solar violin of Sareika is answered by the expressive, structured piano playing of Savary."
After their album devoted to the Sonatas of Grieg, the Latvian violinist Vineta Sareika and the French pianist Amandine Savary tackle Mozart for their second recording. In three sonatas of markedly different characters, the two former partners of the Trio Dali have retained their perfect harmony for performing and indeed producing a major version of these works. If the first sonata on this album, the Sonata K. 376, has no great formal originality, the dialogue between the violin and the piano is intensely varied and overall the work develops both charm and considerable tranquillity. Dating from the same year, the Sonata K. 379 was composed very rapidly; Mozart asserts he wrote it in an hour, without having the time to write down on paper the piano part that he performed from memory at it's first performance the next day. Despite these unusual circumstances, it is one of the most beautiful and original of his works for piano and violin. Composed a few days after the Little Night Music, the Sonata K. 526 is one of his most dazzling compositions, with big movements in exceptionally quick tempi; there reigns here the permanent impression that the composer is delighting in his natural mastery of counterpoint and his art, uniquely so. Vineta Sareika and Amandine Savary demonstrate once again a sublime, jubilant feeling for chamber music. As for their preceding collaboration: "The symbiosis is perfect between two musicians. The vital, solar violin of Sareika is answered by the expressive, structured piano playing of Savary."