As one of the finest violinists of his day and author of the 18th century’s most influential violin method, Leopold Mozart’s influence on his son’s development was profound—indeed, he appears to have been entirely responsible for Mozart’s early education in all subjects. In 1764, while the Mozarts were in Paris displaying Wolfgang’s prodigious gifts, Leopold arranged for the publication of two violin sonatas as his Op. 1. These were “Sonatas for the harpsichord [K. 6+7] which may be played with violin accompaniment,” as the title page announced. Two further ‘accompanied sonatas’ followed [Köchel 8+9]. Six more were published in London [K. 10–15], and another set of six appeared in The Hague [K. 26–31].
The popularity of the ‘accompanied sonata’ reflected a mid-18th century social shift toward the acceptance of female keyboard playing in the domestic sphere—a more sociable setting in which the gallant male might ‘accompany,’ discreetly, on violin or flute. The complex mysteries of the figured bass line of the earlier Baroque sonata—where the keyboard player realized harmonies supporting one or two melody instruments—were giving way to a fully written-out solo harpsichord or fortepiano part, unobtrusively accompanied by violin or flute. As Mozart quickly took to the thriving genre of the ‘accompanied sonata,’ Leopold ensured that his son dedicated his fledgling works to ladies of influence—a royal princess in France and the Dutch Republic, and the Queen herself in England. Meanwhile, year after year, the Mozart family—the gifted Nannerl, Wolfgang, and Leopold—toured the courts and cities of Europe, displaying the children’s remarkable talents before aristocratic audiences.