Mozart: Complete Piano Trios Trio Vega

• Wolfgang Amadeus Mozart (1756-1791): Piano Trio No. 1 in B-Flat Major, Op. 3, K. 254:
• 1 Piano Trio No. 1 in B-Flat Major, Op. 3, K. 254: I. Allegro assai 05:56
• 2 Piano Trio No. 1 in B-Flat Major, Op. 3, K. 254: II. Adagio 07:16
• 3 Piano Trio No. 1 in B-Flat Major, Op. 3, K. 254: III. Rondo. Tempo di menuetto 06:47
• Piano Trio No. 2 in G Major, K. 496:
• 4 Piano Trio No. 2 in G Major, K. 496: I. Allegro 08:51
• 5 Piano Trio No. 2 in G Major, K. 496: II. Andante 07:10
• 6 Piano Trio No. 2 in G Major, K. 496: III. Allegretto 09:55
• Piano Trio No. 3 in B-Flat Major, Op. 15 No. 1, K. 502:
• 7 Piano Trio No. 3 in B-Flat Major, Op. 15 No. 1, K. 502: I. Allegro 08:37
• 8 Piano Trio No. 3 in B-Flat Major, Op. 15 No. 1, K. 502: II. Larghetto 07:51
• 9 Piano Trio No. 3 in B-Flat Major, Op. 15 No. 1, K. 502: III. Allegretto 06:33
• Piano Trio No. 4 in E Major, Op. 15 No. 2, K. 542:
• 10 Piano Trio No. 4 in E Major, Op. 15 No. 2, K. 542: I. Allegro 07:36
• 11 Piano Trio No. 4 in E Major, Op. 15 No. 2, K. 542: II. Andante grazioso 05:21
• 12 Piano Trio No. 4 in E Major, Op. 15 No. 2, K. 542: III. Allegro 06:52
• Piano Trio No. 5 in C Major, Op. 15 No. 3, K. 548:
• 13 Piano Trio No. 5 in C Major, Op. 15 No. 3, K. 548: I. Allegro 07:37
• 14 Piano Trio No. 5 in C Major, Op. 15 No. 3, K. 548: II. Andante cantabile 08:13
• 15 Piano Trio No. 5 in C Major, Op. 15 No. 3, K. 548: III. Allegro 04:48
• Piano Trio No. 6 in G Major, K. 564:
• 16 Piano Trio No. 6 in G Major, K. 564: I. Allegro 05:13
• 17 Piano Trio No. 6 in G Major, K. 564: II. Andante 05:41
• 18 Piano Trio No. 6 in G Major, K. 564: III. Allegretto 05:02
• Total Runtime 02:05:19

Info for Mozart: Complete Piano Trios

The complete 6 Piano Trios by Mozart, as interpreted here by the Vega Trio, are works of high aesthetic value that will not only be a pleasure for the listener but also an enriching source of knowledge and reflection for the scholar. His aesthetic and formal relationship with Haydn’s 43 trios and the 6 attributed to Beethoven mark out an ideal path for discovery in this sense. Haydn will become a formal discourse, according to the new parameters of the sonata form, that he inherited from the Baroque: the Sonata Trio (Trio-sonata), based on the structural patterns of Sonatas da Chiesa or da Camera, in which one or more leading instruments are accompanied harmonically by a basso continuo. Mozart, in addition to stamping an expressive seal of narrative character onto the “sonata” form in each of his 6 Trios, progressively disconnects the “accompanying” instruments from their merely harmonic function in order to enable them to play a leading role, incorporating the piano´s concertante character into the formal structure with respect to string instruments. Beethoven, whose first 3 Trios (Opus 1) respond to the pure aesthetics of Viennese classicism developed by Mozart, bestows even more narrative distinctiveness upon each instrument and proposes, especially in his later Trios (Op. 70 and 97), a dialectical, concertante and philosophical discourse which he would go on to display so brilliantly in all his chamber music and symphonic works.

Yasuo Yano, piano
Marc Paquin, violin
Orville Salz Vega, cello

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