In some quarters, Mozart's sonatas for piano and violin are considered
relatively "lightweight" and inconsequential works.  I've always loved them
for their beautiful melodies, communication between the two instruments,
and a degree of depth and emotional content which is much greater than
generally thought.

Most of the recordings I have of the sonatas are on period instruments:
Kuijken on Accord, Biondi on Opus 111, Cohen on Astree, and Vessaliva(sp?)
on Harmonia Mundi.  On modern instruments, the classic Goldberg/Kraus
collaborations can be found on various labels.

All of the above versions are winners.  However, my first exposure to
the piano and violin sonatas was through EMI recordings featuring Frnak
Peter Zimmermann on violin and Alexander Lonquich on piano.  These modern
instrument performances opened me up to the beauty and depth of this
body of works, and I've not heard better performances since.  The first
Zimmermann/Lonquich disc I bought was in 1988, a year of fond memories
as that's when I also bought my Honda Accord LXI which is one great
automobile; it responds beautifully to the way I drive (frenetic).  A trip
involving my Honda/Zimmermann/Lonquich is always a pleasure except to my
wife who doesn't like being lurched from one side of the car to the other.
What I consider vehicular excitement she sees as a drive through hell.
She also does not like what she calls the "gushy" sound of the Zimmermann
violin.  But, she doesn't like period violins either.  When it comes to
music, she and I are like strangers in the night, although we both like
Frank Sinatra's voice.

Don Satz
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