For Wolfgang Amadeus, composing violin sonatas was a welcome respite from his tiresome commissions.

With great clarity of expression and the right combination of lightness, playfulness and depth that make these pieces so special, Tibor Gyenge and Michael Schoch present a selection of their favourites.

Mozart loved to keep his finger on the pulse of the times. He wrote his violin sonatas whilst on tour and so all the latest fashions inspired his composing, such as the stylistic modernisation of the more expressive 'Mannheim style' reflected in K. 301 & 304.

The violin is initially more of an accompaniment, but increasingly emancipates itself from the leading piano. In the Variations K. 360, this can even be observed within the piece, as Mozart allows the violin to grow out of its subordinate role, so to speak, until the bravura finale.

Historically informed without historicising: No wonder: Michael Schoch is the winner of the ARD prize and Tibor Gyenge is concertmaster of the Staatskapelle Dresden. They approach the works with natural impartiality and create a 'modern' and sonorous interpretation in the very best sense.