K. 6, Violin Sonata in C

K. 6, Violin Sonata in C

The first piece in the K. catalogue with multi-movements.  The allegro movement starts with the violin and piano dancing in unity.  It reminds me of the 1^st movement of his 40^th Symphony.  The andante exhibits that part that I believe makes Mozart’s music so unique.  It starts with a simply melody that grows in complexity with its harmonies.  The entire sonata grows in beauty, like an evening primrose waking for the night.  I think this work represents a new maturity.  How could someone develop so fast?  The third movement is similar to all his other minuets.  And the last movement finds itself staying in my head.  Not sure if that is because it was last or, because it is the most catchy.  Even though K. 6 could be played as simply a keyboard sonata, the violin adds a layer of emotion, in spite of the lack of dialogue. 

So what drove Mozart to conquer the violin?  Whereas his keyboard playing represents a child striving for a father’s attention, the mastery of the violin is a yearning to be like his father.  Leopold was an accomplished violist who had published a manual around Mozart’s birth. Unique stirrings well in a child’s soul to impress his or her father.  As playground children brag, ‘my dad can beat up your dad,’ they admire their fathers.  Even considering absent fathers, children often feel they have to make up some altruistic reason why their fathers are out of the picture.  I work with trouble youth and am surprised by the way many of the younger ones brag about the dads.  One kid bragged about all the cars his father stole and all the people he killed—whether completely true or not, staff debate.  I believe Mozart reached this stage early—stuck in it for the rest of his life. Whereas, most children eventually reach an age when everything their fathers do is moronic.  Boy, I can’t wait until my kids hit that age.