Sophie Rowell and Kristian Chong

Friday, 27 September 2019 at 8pm

Sophie Rowell (violin), Kristian Chong (piano)

Tickets for this concert can be purchased in advance

Programme

MOZART – Sonata for Piano and Violin in G Major, K. 301

BEETHOVEN - Sonata for Piano and Violin in A Minor, Op.  23

MOZART – Piano Sonata in B Flat Major, K. 570

SAINT-SAËNS – Sonata for Violin and Piano No.1 in D Major, Op. 75

 

About the Artists

Sophie Rowell is one of Australia’s foremost violinists. Kristian Chong is one of Australia’s leading pianists. Both are highly sought after in Australia and overseas as soloists, chamber musicians and recording artists.  Their musical partnership is formidable.

Read more about Sophie and Kristian

Programme Notes

Their concert is an evening of music as conversation, the eloquent dialogue of piano and violin in four great sonata works. Mozart's K. 301 sonata is wonderfully expressive with graceful exchanges between piano and violin. In Beethoven's Op. 23 sonata violin and piano tussle in complex dialogues- often witty and enigmatic, sometimes fiery then reserved, sometimes hesitant then forceful - but always beautiful. Mozart's K. 570 sonata is the gentle musing of an intelligent mind quietly contemplating life. While Saint-Saëns' sonata is a dramatic exchange of challenging ideas and heroic themes.

MOZART – Piano Sonata in B Flat Major K. 570

Allegro / Adagio / Allegretto

We have no information about the origins of this late sonata of Mozart of February 1789, though it is probable that he intended it for a pupil. Mozart’s financial circumstances had become somewhat unstable and he had moved to the more remote Vienna suburb of Alsergrund.

Referring to the composer’s late sonatas Alfred Einstein states that Mozart’s aim in his last years was the fusion of two styles.  He fused the old late Baroque era complexity of composition with the simplicity and immediacy of appeal of the new style that was fashionable from the 1720s to the 1770s.  Einstein writes “he sought constantly to give depth through contrapuntal craftsmanship – but craftsmanship that remains unnoticeable”.  Einstein asserts that this sonata is “perhaps the most completely rounded of them all” and that it “contains counterpoint used humorously in the finale as if in open reference to the secrets of which the work is full”. 

First Movement (Allegro). The first theme of this movement is in minuet style.  After a melodious transition, the theme is heard in the bass with a new melody in the treble. After a repeat from the beginning the themes are elaborated further in a development followed by a recapitulation of the initial and transitional themes.

Second Movement (Adagio). A solemn first subject and related phrases, repeated, are followed by two new melodies with the first subject at times briefly reappearing. Finally a link leads back to the first subject and a coda.

Third Movement (Allegretto). The chirpy third movement is a sort of rondo in episodal form.  After the principle subject a section (episode) with a separate musical theme appears.  This is followed by a further episode with another theme.  The movement finishes with the principle subject and portions of the two episodal themes.
                                                                                                                           T. R.

                                                                                                   

Detailed programme notes for other works will be available nearer to the concert date