Piano Trio No. 3 Bb Major KV502 - Score

Pianoforte-Quintett, -quartette und -trios, Bd.2, No.8 (pp ()) Leipzig: Breitkopf & Härtel, Plate W.A.M.
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Piano Trio No. 3 Bb Major KV502 - Score Sheet Music by Wolfgang Amadeus Mozart

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  • Piano Trio in B-flat major, K.502.
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Tchaikovsky's Orchestra Works - I. The Gimo Music Collection. Mozart, Wolfgang Amadeus - Create a quick account: Pseudo This is your nickname on free-scores. We recommend that you assign name-surname. The piano trios that Mozart wrote in Vienna after he moved there in are quite different from the earlier Divertimento, both in musical scope and in the relationship between the instruments. Mozart soon achieved fame in the city as a pianist, and had acquired his own fortepiano by The keyboard parts that he wrote for his piano trios were now much less suitable for playing on the harpsichord, and much more demanding.

Although the best amateur players would certainly have played them on the harpsichord if a piano was not available, they were written for Mozart himself to perform on the fortepiano at his concerts in Vienna.


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Indeed, it was Mozart more than anyone who awoke the Viennese to the expressive possibilities of the piano as a chamber and concerto instrument. At the same time Mozart created a new relationship in his trios between the piano and the stringed instruments, in which violin and cello began to take on independent lives of their own. Mozart had been living in Vienna for five years and was beginning to enjoy some real success, for the first and only time in his career.

The Marriage of Figaro was premiered in May , and was increasingly acclaimed as its run continued. This G major Piano Trio followed in July.

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The solo piano introduces the opening theme, which is almost operatic in its fluid decoration. At first, only the violin joins in the dialogue, with the cello fulfilling its traditional role as the bass instrument. The Andante begins, like the first movement, with an elegantly decorated theme. The finale is a set of variations on a rather stately gavotte. The first three variations proceed innocently, but the fourth variation, in the minor, interrupts the calm with an extraordinary change of tone, the violin reiterating a drone-like motif, the cello repeating a sombre bass line below, and the piano weaving more counterpoint above.

The fifth variation is an Adagio, which seems almost to take us back to the slow movement.

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The final variation brings a return to the gavotte tempo with flamboyant piano arpeggios, and all seems set for a brilliant ending. But the strange drone motif and counterpoint from the fourth variation return, and only just in time Mozart pulls the music back to a cheerful conclusion. In the summer of Mozart wrote another pair of piano trios: This was around the time of the symphonies in E flat No 39 and G minor No 40 , and Mozart may have written this trio to play at one of the concerts planned for his new orchestral works.

But although this was a period of extraordinary productivity, it brought Mozart little financial reward. In April Mozart had advertised for subscriptions to a manuscript edition of three string quintets.

But there were so few subscribers that he was forced to postpone the publication until the following year. He was running up substantial debts, and the family moved from their apartment in the centre of the city out into a suburb.

Piano Trio in B-flat major, K.502 (Mozart, Wolfgang Amadeus)

Works that are urgent and tragic in tone alternate freely with others that are cheerful and relaxed, and theories about manic-depressive tendencies do little to explain the pattern. The first movement of the trio opens confidently, with assertive octaves played by all three instruments, answered delicately and questioningly by the piano. Soon there are flamboyant runs in both piano and violin suggesting that, despite the opening exchange, this trio is going to be uncomplicated in tone.

The central development draws out rather a different story. The contrasts of the opening return, the assertive octaves are now in minor keys and alternate with sighing phrases and chromatic shifts. The piano attempts to introduce more flamboyant arpeggios, but the sighing phrases persist, and when the assertive opening theme returns, one is left with the feeling that there is an element of bravura in the confidence.

This sense is reinforced by the occasional hesitant touch of minor keys during the reprise and the return of the sighing phrases as the overtly cheerful movement works towards its conclusion. Similar dark hints also colour the slow movement. The calm of the opening theme is disturbed by sudden accents. A second, more expansive theme, is taken up yearningly by the cello, and a delicate third theme is coloured by dark chromatic touches in its harmonies.

It is the middle of the movement that takes us furthest away from the calm decorations of the opening melody.

Sheet Music

The three instruments combine in octaves once more, but now fiercely. Florid runs from the beginning of the movement are answered by snatches of the expansive second theme, but now combined with shifts of harmony that create a more searching and unsettled impression. There are more little chromatic touches in the principal theme, but by now they are playful rather than serious.