Großer Saal, Konzerthaus, Vienna
Rameau – Suite in D minor/major, from Pièces de clavecin avec une méthode sur la méchanique des doigtsMozart – Piano Sonata no.8 in A minor, KV 310/300d
Beethoven – Piano Sonata no.29 in B-flat major, op.106, ‘Hammerklavier’
Grigory Sokolov (piano)
When I composed my Fourth String Quartet I said this time I must compose like Mozart does it, without looking at all whether I see relations or not, juxtaposing ideas. This principle I had conceived before, but this time I went very straight with this. And this is what Mozart does; in the middle of a theme he will interrupt or abandon his motifs and juxtapose new thematic formulations. We have it so clearly in the A minor [piano sonata]. The characteristic for Mozart is this interruption, I would not be sure to contend that this is a higher or a more primitive technique [than Beethoven, inter alia]. It is difficult to evaluate this aesthetically. I think it derived from his dramatic technique.