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The earliest of Mozart's pieces for Keyboard, Violin and Cello were composed in
1764, whilst the young composer was in London and dedicated to Queen Charlotte.
He returned to the form twelve years later in August 1776 with a Divertimento a 3 in
B flat major K254. Mozart, in common with Haydn and others, saw the Piano Trio as
a kind of accompanied Sonata. This would certainly apply to Mozart's writing for the
cello in these Trios, for it rarely carries the tune and serves mainly as the bass. In the
Divertimento however the violin is given as much prominence as the piano. The
jocular and dynamic opening Allegro is a highlight of this unassuming piece whilst
the Rondo-Finale is a graceful minuet.
A further gap of ten years separates the Divertimento from the next Trio although
another work for Piano Trio K 442 was begun in 1785 and Mozart was still adding to
it three years later. The three movements of this work were possibly not intended to
form a completed work, but were assembled after Mozart's death by the Abbe
Maximilian Stadler, possibly at the behest of Mozart's widow Constanze. (K442 is not
included in this collection).
The Piano Trio in G major K 496 was composed in Vienna and is dated 8 July, 1786
(two months following the premiere of Le nozze di Figaro) and was the first of a
batch of five completed Piano Trios composed between July 1786 and October 1788.
As if to emphasize the pre-eminent role played by the piano in these works, the
opening Allegro begins dramatically with an extended passage for piano solo. The
sense of drama does not diminish with the entry of the other two players and the
movement as a whole is notable for its bold harmonies and an unusually powerful
development section.
The great slow movement, marked Andante, is one of Mozart's most heartfelt essays
and contains much that is exquisitely refined and detailed. It is also a rare example of
the cello being afforded something like equal status with the other two
instrumentalists.
The lighthearted Finale (Allegretto), as so often by now made up of a theme and
variations, has the effect of clearing the air and brings this work to a relaxed
conclusion.
The third Piano Trio in B flat major K502 is dated 18 November 1786.
This is unquestionably one of his finest chamber works and resembles in its mood
the great piano concertos that share the same key signature, K450 and K456. The
opening Allegro, is almost unique in that Mozart confines his material to one basic
theme. Even in the Coda, the composer unexpectedly contents himself with
developing that single theme. It is with the lovely Larghetto that Mozart most aligns
himself with the spacious and romantic style of his Piano Concertos. Its longbreathed
melody clearly anticipates the work of Schubert. If the opening movement
demonstrated Mozart's skill at making much out of little material, then the Finale
(Allegretto) shows the composer displaying an enviable wealth of melody.
Other works completed by Mozart at this time include the Piano Concerto
no. 25 in C (K 503), the Symphony no. 38 in D (K 504) known as the ‘Prague' and the
Quartet for Flute and Strings in A K 298, composed for his friend Jacquin. He had
received a sum in advance for Le nozze di Figaro earlier in 1786, but he earned
nothing from several repeat performances of Die Entfuhrung aus dem Serail also
given that year (although he must have felt some gratification that the public was still
showing an interest in this earlier opera). Mozart made plans to tour to help ease his
financial worries.
Friends spoke of the welcome he would receive in London, for his reputation as a
leading composer and performer had never been higher. He had intended to
accompany the singers Nancy and Stephen Storace, but Mozart was not in good
health and his assumption that Leopold would care for his young family in his
absence was firmly squashed. In the event Mozart did travel, but only to Prague in
January 1787 at the invitation of Count Thun. There Figaro was given a triumphant
reception and Mozart returned to Vienna a few weeks later with a new opera
commission, which would turn out to be Don Giovanni. Constanze had borne a
third child in October 1785 but the boy only lived one month, dying just two days
before the completion of the Piano Trio no. 3 K 502. Not for the first time did Mozart
suppress his true feelings during composition for there is little inkling in this
engaging work of any tragedy in his private life.
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