Album insights
Mozart's Divertimento in B-flat major, K. 254, was effectively his first piano trio, composed in Salzburg in 1776. Despite its title, Mozart likely didn't have the chance to play it on a piano at the time, as the primary keyboard instrument in his household was a two-manual harpsichord. Details from Mozart's letters reveal instances where he played the Divertimento on the piano during his travels. In Munich in October 1777, for instance, he performed it twice at the "Zum schwarzen Adler" inn. The atmosphere for the trio was informal, mirroring the intentions behind its composition. Moving ahead, in Mozart's subsequent Vienna trios, the dynamics amongst the instruments shifted notably from his earlier works like the Divertimento. His evolving piano trios were tailored to his own virtuosic piano skills and marked a shift in the relationship between the piano and the string instruments, allowing the violin and cello to flourish independently.
In the G major Trio, K. 496, which was Mozart's first mature trio, written in 1786, the thematic material exudes operatic flair and intricate ornamentation. The Allegro assai opener sets a lively tone, with the dialogue initially between the violin and piano, transitioning to a dramatic middle section where the cello asserts itself alongside the other instruments. Similarly, the Andante showcases unexpected depth and complexity with sudden modulations and contrapuntal textures. The finale, a set of variations based on a stately Gavotte, contains a surprising shift towards the minor in one variation, introducing a darker, intricate element that resolves in a joyous conclusion.
Following the G major Trio, Mozart penned the C major Trio, K. 548, in the summer of 1788 during a period of financial hardship and personal loss. The trio's first movement opens boldly with emphatic octaves shared by all instruments, with the piano introducing themes delicately. As the movement progresses, contrasts from the opening return with minor tonalities and chromatic shifts, hinting at a blend of self-assurance and bravado. The ensuing movements continue this nuanced interplay, with the slow movement featuring yearning melodies juxtaposed with darker chromatic harmonies. The finale, retaining Mozart's signature charm, weaves playful chromatic elements into the main theme before concluding with a jubilant resolution, triumphing over any previous darkness.