Overview
Introduction
This is the second of Mozart's six completed piano trios, composed ten years after the first, K. 254 (1776). However, since that earlier work is more appropriately a divertimento -- written as light music for his then-employer, Archbishop Heironymous -- K. 496 is the first of Mozart's trios to realize its full potential as chamber music, and therefore his first real entry in the genre. Since it was most likely conceived with amateur performers in mind, this work is less demanding technically than those trios that would follow; nevertheless, the part writing allows for a great deal of independence, and shows the composer's innate craftsmanship.
The G major trio dates from 1786, and, uncharacteristically for Mozart, its manuscript bears a number of corrections and changes -- some made in red ink. This is perhaps explained by the work's proximity to the composition and premiere (in the same year) of his comic opera, The Marriage of Figaro, and the resulting drain on his time and concentration. Even so, it is a substantial work, requiring nearly half an hour in performance -- the longest of the six piano trios.
The first movement, marked allegro, opens with a sparkling piano solo; it is feathery and detailed, unlike the simple, stomping beginning of the earlier divertimento. Soon the strings join the chorus; the cello then takes a turn at a somewhat simpler theme, marking its emergence from the obscurity of continuo it endured in the earlier piece.
The second movement is an extended andante -- the least challenging movement of the three. In the finale, Mozart resorts to a theme and variations format that, while the beneficiary of Mozart's natural melodic gifts, seems restricted by a rather narrow conception.
Parts/Movements
- Allegro
- Andante
- Allegretto
