W. A. Mozart’s Sonata for Piano and Violin in D Major (KV 306): Features of Genre and Stylistic Dialogue Against the Background of Performance Interpretation

Of all Mozart’s diverse instrumental duets, the authors of this article highlight the Mannheim sonatas for a number of reasons. First and foremost, these sonatas marked the composer’s transition from his early experiments to a mature style. The purpose of this article is to provide a comprehensive analysis of the Sonata for Violin and Piano in D major (KV 306) from the perspective of genre and stylistic dialogue and its performance
potential. In addition, the authors present convincing arguments in favour of considering Mozart’s six ensemble sonatas (KV 301–306) as a macrocycle. Studying the score in the context of the proposed concept makes it possible to present Sonata KV 306, on the one hand, as a vivid synthesising fi nale, and on the other, as an independent concert piece. In this respect, its stylistic characteristics take on a number of new accents: a wide range of
interconnections (intonational, tonal, genre-related) with other Mannheim sonatas, as well as the organic inclusion of components of theatrical-concert dialogue into the sonata cycle.

chamber ensemble, instrumental duo, W. A. Mozart, Mannheim sonatas, Sonata in D major (KV306)