The offìcial catalogue of Mozart's compositions include more than forty works for piano and violin, two thirds of which need to be excluded immediately as there are either doubts as to their authenticity, are mere fragments or for flute as an alternative to the violin, a common practice during the 1760's when the geme was stili at an experimental stage (KV 6-15, composed by Wolfgang between 6 and 8 years old). 1hen there are six (KV 26-31) which are often not taken much into consideration by academics as they are a «synthesis between the galante style with sturmisch influences» (Claudio Bolzan) where the German adjective refers to the preromantic atmosphere of the time. At the end of the day the "officiai'' works are made up of fifteen Sonatas from 301 (1778) to 547 (1788)

The four recorded here are from a particularly lively period in Mozart's creative output while on a persona! leve! it was one of the most troubled. 1hey were the last years Mozart spent in Salzburg in an increasingly problematic climate which led to his permanent move to Vienna. Each Sonata was written in a different city, proof of an unsetded existence: 304 in Paris (1778), 305 in Mannheim (1778),
378 in Salzburg (1779), 379 in Vienna (1781).

The first two are part of a set of six which were finished whilsc staying between che German city and che French capitai, it was here chat chey were published and dedicated to Princess Maria Elisabech Electress of Palatinato. Sonata 304 is che only - both in chis set and indeed of ali che sonatas - in a minor key, as is Sonata 310 far piano which was composed in Paris during the same period, spring-summer 1778, bue which has two movements and not three. 1hey share che same dark, somber colour, despite this Mozart never slips into cragic tones. Tue opening Allegro begins with che theme exposed on both instruments in octaves, which is then presented three times by the violin, each time with a differ­ ent piano accompaniment; the most striking section is the development with its counterpoint. Tue Tempo di Menuetto which follows has nothing of the character of a dance, shrouded by a melancholic veil which only the Trio middle section briefly manages to lift.

Sonata 305 is also in two movements, but has a completely different character; constructed on a perfect balance between the two instruments, it opens with an Allegro di molto in a carefree 6/8 which hints of a baroque gigue, but the frequent unisons and crescendos piace it within the modem style of Mannheim. Once again there is exquisite counterpoint in the middle section. Tue second and fìnal movement is no less refìned, an Andante grazioso made up of a theme followed by six elegant variations, the fìrst of which is presented by the piano.

Sonata 378 is the only one of the four to have the classic three movements and dates from the fìrst months of 1779 when Mozart got back to Salzburg after stop­ ping in Strasburg, Mannheim and Munich on his way back from Paris. Together with Sonata 379 it makes part of the set of six Sonatas dedicated to his pupi! Josephine Auernhammer who must have been an excellent pianist, as a few years later she was to play scores for piano four hands with him. Tue opening Allegro moderato, unusually long for that time (almost 200 bars), is characterized by the presence of at least four themes with the lightness which makes Mozart's music unmistakable. Tue middle Andante sostenuto e cantabile evokes preromantic so­ norities in the violin part, underpinned by the piano, while the Rondeau takes the time of a gigue. Tue closing Allegro is lively and playful.

Sonata 379 has an unusual form, again in two movements it opens with an Adagio in G major which shifts to an Allegro in G minor. Tue contrast could not be stronger but it all happens with Mozart's usual naturalness. Tue score comes to a dose with an Andantino cantabile followed by fìve variations in which the restlessness of the Allegro is quelled, even though every now and again one has the sensation that "something" is still agitated beneath the surface. Bur the closing bars sweep aside every tension.