Sonata composed in the old style for King Ludwig II of Bavaria (first edition) 奏鳴曲 風格 詠唱調 雙小提琴
巴伐利亞國王路德維希二世曾為其著名的私人演出委託創作了三部歷史芭蕾舞劇。這些芭蕾舞劇的主題是法國國王路易十四和路易十五的宮廷慶典，在慶典期間，兩位國王分別舉行了舞會和牧羊人遊戲。路德維希二世要求他的芭蕾舞劇在所有情節細節上都要嚴格遵守歷史原貌。音樂也必須完全符合當時的風格。慕尼克作曲家馬克斯-曾格（Max Zenger，1837-1911 年）被委託創作音樂，因為他被認為是一位傑出的古樂鑒賞家。儘管曾格對理查-瓦格納的音樂頗有微詞，但國王還是很喜歡他，並於 1882 年任命他為巴伐利亞皇家音樂教授。這首奏鳴曲是芭蕾舞劇《愛神與賽琪》的一部分，最初由十二頁紙演奏，既可以作為小提琴二重奏，也可以使用弦樂組演奏。這首奏鳴曲難度中等，是 19 世紀末歷史主義音樂的有趣範例
作曲家: Zenger, Max
編者: Muenster, Robert
樂器: 2 violins
出版社: Musikverlag Robert Lienau
For his now famous private performances, King Ludwig II of Bavaria commissioned three historical ballets. The subjects of these ballets were festivities held at the court of the French Kings Louis XIV and Louis XV, during which the respective kings held dances and shepard’s games. Ludwig II required in his ballets the strictest adherance to historical exactitude in all details of the plot. The music too was expected to be exactly in the style of the time. The Munich composer Max Zenger (1837-1911) was entrusted with the commission for the composition of the music because he was considered an outstanding connoisseur of older music. Despite of the fact that Zenger stood rather critical towards the music of Richard Wagner the King liked him and named him Royal Bavarian Professor of Music in 1882. This sonata is part of the ballet Amor and Psyche, played originally by twelve pages, it can be performed both as a violin duet and using section strings. It is of intermediate difficulty and an interesting example of historicist music at the end of the 19th century.