The Mozart Trio, play it correctly, and it will come to lifeThe opposite is also true.

Hello Mr. Friedland.
I just picked up a copy of what is referred to as the Kegalstatt Trio for Piano, Violin or Clarinet, and Viola, in E Flat Major (K 498). I’m wondering if this is the same work that you refer to in your article “Notes on Mozart’s Trio for Clarinet, Viola, and Piano”.
The first movement in my edition is marked Andante, followed by Menuetto and Trio. The first movement is in 6/8 as well.

If this is the same trio, I see exactly what you mean about the repeated figure of four 64th notes on the ‘and’ of the 3rd eighth(say that three
times fast ;-). I see that at 72 dotted quarters per minute it would sound
like a virtual smear of a turn. If it is not the same trio, well, I’m sure your suggestion of a slower tempo to make the “written out” turn playable
still applies.

Now, I would imagine, given I’m but a fair amateur, that this is more
playable by some more skilled than I, but even then, I doubt that it would sound very musical.

I’m happy to have come across your article just a few days after purchasing
this piece to study (and eventually play if I stumble over a willing pianist
and violist).

I returned to playing the clarinet just a few months ago after a 5 year
absence (gave up reluctantly because of chronic tendonitis in my right wrist). I have consulted my doc about DeQuervain’s (and read your articles).
DeQuervain’s was ruled out. Darned annoying, and still with me, but, at least I’m playing again. I’m a web and graphic designer in my day job and this contributes to my problem.

Thanks for your timely article and your site. They are great resource and a
gift. When I was a student, 15 years ago, the Web was not the resource it is
now. Isn’t technology wonderful in the right hands?
Take care and thanks again.
Vancouver, BC.
Hi Tom :
Thank you for your letter concerning the Mozart. Yes, it is one and the same and while I am absolutely sure that what I wrote is musically exactly correct, my feelings have been somewhat changed not by anything new, but by what is old and traditional:
People, specifically violists do not want to play the first movement in an adantino 6 beats to the measure. They want to play the movement in two beats to the measure and just “play it as a turn” which translates into each player rendering their own version.
I once had a fine violist tell me that he just plays the Mozart “the way the clarinetist does, copying whatever the clarietist plays for those many written-out measures.
And I have had others refuse to play the engagement because they knew my reputation with this piece. They just felt that “you let the music flow” or something like that.
Many years later sometimes I think the same, however this attitude absolutely decimates the beauty of this piece, as it is done to a fair amount of music.
The piece has developed the reputation of practically a “parking lot” piece, you know something while one parks their car for the concert, an opener if you will. But it is not that, it is like many pieces by Mozart a very interesting contrasting piece of chamber music. Three strikingly different movements, the first being quite dramatic, followed by a stately minuet and finally a piece of endless melodies.
He probably wrote it in a couple of hours or so, however,like many of the period in which he was writing just for money in Vienna, it is a lasting piece of classical excellence, which is simply why he is Mozart, perhaps the most gifted composer.


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