Trio Sonatas

Piano Trio in C Major KV. 548 by Mozart was finished in July 1788, not long before the completion of “Jupiter” of Symphony â,,-. 41, and likewise into the C major key. Is remarkable, that in the course of various months in the summer of 1788, only the year after death of his father, Mozart wrote his last three symphonies, by culmination his symphonic work! Mozart’s last three Piano trios were written simultaneously. It is burdened by the severe impairment of normal physiological function of his wife, which added to it is of financial stress, that the last piano trio were published in an try at the attraction of means to earn money.

Trio comprises of three motions and begins, as is not Symphony No.41 with the pump that “requires attention,” that it is special features of the work of chamber music for the stringed instrument. Music, which follows it seems predictable at first, but in the course of development section were proposed to glimpse into the soul of a musical genius. Modulation, on the decrease chromatic of lines and the splendid selection of tool houses to create the magic of the textures, where the light and shadow, pain and pleasure are mixed up.

The second part, Andante Of Cantabile in F major, flows spaciously in 3/4 times intermix from time to time speedily those being fluttering of passages. A sudden exclamation fort into unison disrupts the tone of complacency, and which it follows not expected symmetrical and texture that as a result daring and pretty hauntingly.

Third motion merry “hunting” to be disposed to dances 6/8 meters. In contrast to the symphony this is not contrapuntal in the structure. Arpeggio figure by main theme is passed by all three tools. In the hands of Mozart, the Piano trio outperforms the scope of Haydn’s model in the fact that the violoncello was given more attention. (Old style more it is similar on the keyboard of sonata from the violoncello the doubling of bass and violin, that decorate the right hand.) In Mozart’s later piano trios, it produced new textures, including the establishment of lines in comparison with the piano, all additions in interest and has produced a dramatic nature pieces.

Trio Sonatas Pic

Trio Sonatas Picture

Trio Sonatas Picture

Trio Sonatas Photo

Trio Sonatas Photo

Trio Sonatas Picture

Most helpful customer reviews

15 of 16 people found the following review helpful.
Surprised by joy
By A
The listener from NY gets it half right — this music is marvelous. Anyone who goes to Zelenka expecting to encounter the generic baroque trio sonata is in for a bracing shock. On the other hand, NY’s assessment of the performances is less pleasantly shocking. To describe Holliger et. al. as “dull as dishwater” is like complaining that Toscanini’s pacing of Beethoven’s symphonies is “inert as molasses.” To take one example, just listen to the two oboes squealing like puppies above a deadpan harpsichord continuo! No mistake about it — Zelenkas’s trio sonatas are both wonderful music and wonderfully performed on this desert island disc.

15 of 17 people found the following review helpful.
A forgotten work of genius until recently
By Gene Herron
Heinz Holliger in the liner note of this work expressed regret that the “Zelenka Renaissance continues to proceed far too hesitantly”. Perhaps this recording will lead the way to Jan Dismas Zelenka being given the due he was denied in his own lifetime and beyond. Wonderfully well performed, on modern instruments, of a suite of six trio sonatas which deserve to be played and played often.

Zelenka was the “unbaroque” baroque composer. Every device of the genre can be found here on these Trio Sonatas, and yet, there is a depth of feeling and expression, from the sublime to the witty to an almost palpable cry of dispair answered with a succor of relief which is not often encountered in most baroque works. Every bit of the composition is polished and yet a sense of spontaneity, of wit and whimsy and deep emotion, affekt, appears just under the surface and sometimes, when you don’t expect it, it leaps out and grabs you by the throat as if to say “This is as obvious as a snowflake and just as complex!”. Heinz Holliger states that these works are a “…challenge to every musician and adventurous listener”.

The “challenge” appears in an understated grey case with enclosed liner notes. The composer a mysterious man who left very little, not even his portrait, to posterity save a handful of works which frighten, perplex, gratify and endear what he was to us. The performers, reserved men and women who have let their work speak for itself. You will wonder why this composition has languished in obscurity and you will agree with me that its time has finally arrived.

I recommend this recording without reservation. Anyone who listens to and enjoys baroque music must have it.

18 of 21 people found the following review helpful.
One of the best ever!
By A
I am still waiting for the CD to arrive, but it was featured recently on National Public Radio.

The little bit I heard was as fine as a classical performance can possibly be. The players play with an intensity and feeling that is truly uncommon in today’s world of mass produdced, get it out the door now attitudes, with little real concern for quality.

This CD will amaze you with the sheer brilliance and and quality of the performance and to serve as an outstanding introduction to a little known composer.

This is a MUST HAVE for any classical music lover.

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