What could be more soothing, more enervating, or more life-enhancing than some Mozart performed with style, grace and charm? And that's exactly what's on offer here. Just listen to the brio that comes with the first movement of the Sonata, K 305, the first sonata we hear, the A-Major, K 305:
This two movement sonata ends with a delicious, extended set of variations:
The simply beautiful sound is a combination of factors: a superb Cambridge venue, a wonderful fortepiano (a McNulty copy of a Walter, c 1805) that can dance as well as sing and a Guadargnini violin with gut strings (bow from the 1780s). PLus two fine performers, of course.
Of the violin sonatas of the "early 300s" in the Köchel catalogue of Mozart works, it is the E-Minor, K 304 that gets out most, perhaps because of its minor key and the depths Mozart finds in this territory.:
The shift to G major for the Sonata, K 301 is like a haft of light, Listen to how the articulation of violin and fortepiano are closely aligned in this brilliant performance:
The one sonata from later in Mozart's output here is the B flat Sonata, K 454. Dating from 1784, this is only six years after K 301, but we feel a glorious expansiveness to K 454's first movement, with Hanson and Arthur exploring every nook and cranny with infectious curiosity. This first movement, is not without humour, either:
What is particularly impressive in this sonata is Hanson's singing legato in the Andante:
With a playing time of just under 80 minutes, this is a surefire bargain. The musicianship is exemplary, the sense of style from Hanson and Arthur perfect. Hesitate not!