As a noted keyboard virtuoso, Mozart was, if anything, even more attuned to the newly developed subtleties of Viennese pianos, and in the decade he resided in Vienna, from 1781 to 1791, he composed seventeen superlative piano concertos, of which three of the most irreplaceable-those in A major (K.488), C minor (K.491), and C major (K.503) date from the same year as the B-flat major Piano Trio. In 1788, Haydn asked his publishers to buy him an up-to-date Schantz piano so that he could craft a new set of piano trios specifically to highlight the capabilities of the latest instruments. It is far from coincidental that the spirit breathed into keyboard trios in the 1780s corresponded with the unquestioned supplanting of the harpsichord by the pianoforte and by important technical advances in piano-building in Vienna.
This pair was published without delay by Franz Anton Hoffmeister. It seems likely that he wrote them with an eye cocked toward their commercial possibilities. The 1786 trios arrived in the wake of his opera Le nozze di Figaro and immediately preceded his Prague Symphony. Three more would follow in 1788 together, his five late piano trios are among the most admired in the piano trio repertory. His great and enduring contributions began when he returned to the medium a decade later to produce two piano trios, completed respectively on July 8 (in G major, K.496) and November 18 (in B-flat major, K.502).
Wolfgang Amadè Mozart (1756-91) first composed for piano trio-the classic ensemble of violin, cello, and piano-in 1776, when he produced his Divertimento in B-flat major (K.254), a work quite in line with the light trios that were designed as amusements for plays in the mid-eigteenth century.
0 kommentar(er)
