Violin Sonatas: in C, K296; in G, K379; in F, K376; in B flat, K454 - Mozart

When the two members of a duo are totally in accord there is something special about the music that results. It may be that Mozart's aristocratic patrons might have preferred a more forward performance than that offered by Mark Steinberg (violin) and Mitsuko Uchida (piano) in the NCH on Sunday last, but it would be hard to imagine playing of a greater refinement where the heights of expression were reached by the subtlest of means. In these Sonatas, Mozart doesn't raise his voice to impress; he doesn't have to. And these two players respect his restraint; so delicate is their shading that the narrow range of dynamics they were using seemed wider than that availed of by the Romantics. The performance was proof that a quiet statement can be more telling that a boisterous gesture and that music which enchants can be more penetrating than music which impresses. Some Mozart can make Beethoven sound like a nouveau riche.

In a letter to his father, Mozart described the Sonata in G as a "Sonata with violin accompaniment", and indeed in this, as in the other Sonatas, Mitsuko Uchida had the lion's share of the music. What was remarkable was that the violinist did not try to compensate by highlighting his part, nor did the pianist ever detract from his contribution. The two parts were in perfect equilibrium, each essential to the other, and the music flowed, unfettered but under control. Mozart's high fantasy seemed to spread its wings far from the grime of daily life.