- Powerful musicianship of violinist Alan Grishman
- Notes from the Green Room: Coping with Stress and Anxiety in Musical Performance
Mozart’s early sonatas “for piano and accompanying violin,” were actually piano pieces; so much so that if the violinist failed to appear, the listener would have only missed some supporting passages that functioned as a doubling of the piano part. With maturity – both personal and musical – Mozart created sonatas where the violin took on increasing importance, with more solo lines of its own, as you can hear in the movement you may listen to here, the opening “Allegro con spirito” from the G Major Sonata, K. 301.
The bow I use on this recording has a heart-warming personal story for me. Several years ago when I visited my old friend, the fortepianist, Gusta Goldschmidt, in Amsterdam, we enjoyed an evening playing Mozart sonatas together. She indicated that the modern bow I used did not produce her idea of a true Mozart sound. She then opened an antique wooden box and took out a stunning bow with an ornate ivory frog. It was in the style of Mozart’s time made by the well-known English bow maker, John Dodd. The music produced by this bow had a warm, mellow, velvet, yet bold and full sound. Gusta then presented the bow to me as a gift, with my promise to use it to play Mozart from that day on. I have kept my word, and later received an additional bonus when she gave her heartfelt approval of the music she heard on this recording.
Notes by Alan Grishman