Sonata No. 3 in E-flat major follows the form and style of the violin sonatas Mozart composed in the middle years of his Viennese decade. It begins, like several of the violin sonatas, with a slow introduction, followed by a symphonic Allegro. The slow movement is like an elaborate aria, but with conversational give and take between the piano and trumpet. The rondo finale begins like a contredanse, but its central episode includes a lyrical dream-like minuet that echoes in the movement’s closing bars. In this sonata, all the themes are drawn from a mash-up of Mozart’s concert arias and insertion arias. In the latter case, these are arias he wrote either as substitute numbers for other people’s operas, music for his own unfinished operatic projects, or arias gifted to singers for benefit concerts. There is, then, something highly theatrical about the tone of the piece; it has been conceived in the style of Mozart’s instrumental music from the mid-1780s, and draws its formal and rhetorical features from several pieces he composed in 1785 and 1786.

Parts included:

  • Trumpet in C
  • Piano

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