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660:) and consists of 222 bars; a typical performance would last eight and a half minutes. The key signature, as is conventional, is the same as the opening movement, E-flat major. The musical format of this movement is a seven-part rondo, a rarity in Mozart's work; this seven-part structure also explains the title
573:
The opening menuetto of this movement consists of the exposition of a four-bar theme (bars 1–12, repeated), and its development (bars 13–41, also repeated). The piano's pounding bass line and sharp dynamic contrasts set the mood of this theme apart from any conventional light and frilly notions of a
235:
and his youngest son
Gottfried – were quite close friends. They performed house concerts together, where Nikolaus played the flute and Franziska the piano. In a letter to Gottfried from 15 January 1787, Mozart praises Franziska's studiousness and diligence. Mozart dedicated a number of works to the
478:
The first movement is not the more traditional
Allegro as an opening movement, but a more contemplative Andante. Following on from this, the second movement is of course not the traditional slow movement, but a moderate Menuetto, and the last movement, while lively, is not the standard Allegro. In
589:, accompanied by chromatic chords from the piano (bars 42–62, repeated). In the development of that theme, the four-note phrase and the lively triplets are then taken up by the piano, and clarinet and viola present some chromatically rising lines, before all three instruments start a
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major – is played once by the clarinet (bars 17–24) before the piano plays an intermezzo of several bars. From bar 36 onwards, all three instruments play short phrases of that theme in turn, followed by a piano solo until bar 50. Theme C – in
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The final part of the trio starts with a variation of the trio's four-note phrase, which is briefly developed (bars 95–102) before returning to the brighter theme of the
Menuetto whose treatment ends the movement without repeats.
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neither its exposition nor the remainder of the movement, which is unusual for Mozart's mature chamber music. A particularly recognizable feature of this movement's principal theme is the
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played clarinet, Mozart the viola, and
Franziska von Jacquin the piano. The clarinet was still a relatively new instrument in Mozart's time, and this trio, along with his
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in the alto position. The labelling of the piano part shows a correction by Mozart where he started to write "Ce" (for "cembalo", the
Italian word for the
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690:– is presented by the viola and repeated (bars 67–76); all three instruments develop that theme in bars 77–90 (repeated). This development visits the
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and consists of 158 bars, almost all of which are repeated; a typical performance would last about six minutes. The key signature of this movement is
283:
as was commonly thought), K. 487, "while playing skittles"; on the first page of the autograph manuscript of K. 487, Mozart inscribed the following: "
343:, transcribed – probably with Mozart's consent – for violin, viola and piano, and the original clarinet part was described as an "alternative part":
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803:"An Afternoon at Skittles: On Playing Mozart's 'Kegelstatt' Trio. Part I: A Trio for Signora Dinimininimi, Nà tschibinìtschibi, and Pùnkitititi"
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of bars 191 to 222, Mozart concludes the composition, "that does not merely satisfy the listener, but leaves him enchanted!"
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431:) and then replaced it with "Piano forte". However, this part is labelled "Cembalo" for the second and third movements. The
231:, the work was dedicated to another student of Mozart's, Franziska von Jacquin; Mozart and the von Jacquin family – father
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Minuet. During the development, the dialogue between the instruments becomes intensified, and Mozart shows his grasp of
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593:-like conversation where the 4-note phrase is only heard twice in the piano left hand (bars 63–94, repeated).
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289:" (Vienna, 27 July 1786 while playing skittles). A week and a half later, Mozart composed and dated the trio E
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melody in two parts, drawn from the first movement and presented first by the clarinet, then taken up as a
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where he argues that the first movement ought to be played much slower than it is almost always performed.
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No composer before Mozart had written for this combination of instruments. In the 19th century
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Elements of Sonata Theory: Norms, Types and
Deformations in the Late-Eighteenth-Century Sonata
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In March 1894 the manuscript came into the possession of the musicologist and composer
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short, the contrasts in tempo in this trio are not as stark as in most piano trios.
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who bought it as part of a large purchase of manuscripts from Mozart's widow
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when he bought it from Leo Sachs, a banker in Paris, who had bought it from
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The manuscript notes the clarinet part as "Clarinetto in B" and uses the
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in 1910 "Eight pieces for clarinet, viola, and piano" (Op. 83) and
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K. 498. He entered this work into his list of compositions simply as: "
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Kraus, Hedwig (January 1933). "W. A. Mozart und die
Familie Jacquin".
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major – is introduced in bar 116 by all three instruments almost in
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four-note phrase, to which the viola responds with a run of lively
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959:; Broder, Nathan. New York: Oxford University Press. p. 261.
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513:; a typical performance would last just over six minutes. It
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La parte del
Violino si può eseguire anche con un Clarinetto
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on 5 August 1786. According to Mozart's 17-year-old student
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in Mozart's late chamber music indicates close friendship.
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Als Luise die Briefe ihres ungetreuen
Liebhabers verbrannte
411:, DĂ©partement de la Musique, Malherbe collection, Ms 222.
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by the piano (bars 1–16). The melody of theme B – in B
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The last movement is written in the time signature of
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The structure is AB–AC–AD–A. Theme A is an eight-bar
384:"Trio for piano, clarinet and viola" (Op. 246).
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alley. Mozart wrote that he composed 12 Duos for Two
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von
Jacquin family. One year later, Mozart wrote two
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in A), helped increase the instrument's popularity.
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1094:. New York: Oxford University Press. p. 401.
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223:on 10 sheets (19 pages) in Vienna and dated the
59:First page of the autograph – viola and clarinet
1298:List of compositions by Wolfgang Amadeus Mozart
286:Wienn den 27. Jullius 1786 untern Kegelscheiben
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578:without ever sounding academic or "learned".
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320:was first played in the von Jacquin's house;
305:first appears ascribed to the K. 498 trio in
8:
1251:No. 1 in B-flat major, K. 254 (Divertimento)
994:Proceedings of the Royal Musical Association
749:, KV 498, Critical Report, p. 42 (in German)
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298:Ein Terzett fĂĽr klavier, Clarinett und Viola
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923:. Cambridge University Press. p. 479.
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1138:International Music Score Library Project
1134:Trio in E-flat major, K. 498 "Kegelstatt"
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407:) in 1841. In 1912 it was donated to the
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1778:Music dedicated to students or teachers
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991:(1984). "To Repeat or Not to Repeat?".
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1758:Piano trios by Wolfgang Amadeus Mozart
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27:Piano trio by Wolfgang Amadeus Mozart
7:
1261:Trio for clarinet, viola and piano (
311:thematic catalogue of Mozart's music
1150:) fĂĽr Klavier, Klarinette und Viola
279:(not 2 violins as once thought, or
921:Mozart in Vienna: The Final Decade
529:The second movement is written in
339:The trio was published in 1788 by
25:
1001:. Taylor & Francis: 121–138.
774:Zeitschrift fĂĽr Musikwissenschaft
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1568:Maria Anna Thekla Mozart (Bäsle)
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581:The following trio opens with a
409:Bibliothèque nationale de France
1685:Beethoven–Haydn–Mozart Memorial
951:Mozart, His Character, His Work
801:Klorman, Edward (Spring 2016).
521:(turn) which appears 67 times.
355:, a violin–cello–piano trio, a
1768:Compositions for clarinet trio
487:The Andante is written in the
1:
1270:No. 3 in B-flat major, K. 502
1783:Compositions in E-flat major
1594:(paternal great-grandfather)
1437:Concert arias, songs, canons
1194:Analysis by Edward Klorman:
664:, the French plural form of
423:. The viola part uses the C-
1574:Franz Xaver Wolfgang Mozart
1556:Maria Anna Mozart (Nannerl)
900:, KV 498, Critical Report,
448:The trio consists of three
233:Nikolaus Joseph von Jacquin
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709:of C minor. Theme D – in A
353:clarinet–violin–piano trio
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1680:Mozart in popular culture
1492:Relationship with G minor
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835:VII/22/Abt. 2, pp. IX–XII
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601:III. Rondeaux: Allegretto
570:from the first movement.
389:Charles Théodore Malherbe
357:clarinet–cello–piano trio
318:clarinet–viola–piano trio
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1409:Appearance and character
1285:No. 6 in G major, K. 564
1280:No. 5 in C major, K. 548
1275:No. 4 in E major, K. 542
1256:No. 2 in G major, K. 496
1088:; Darcy, Warren (2011).
1695:Mozart Monument, Vienna
1340:Wolfgang Amadeus Mozart
1240:Wolfgang Amadeus Mozart
1086:Hepokoski, James Arnold
761:, KV 498, score, p, 104
271:are played", akin to a
209:Wolfgang Amadeus Mozart
96:5 August 1786
1773:Compositions for viola
1588:(paternal grandfather)
1070:VIII/22/Abt. 2, p. 117
1007:10.1093/jrma/111.1.121
809:American Viola Society
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864:VIII/22/Abt. 2, p. XI
705:before ending in the
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267:means "a place where
248:" (K. 520) and "
116:Franziska von Jacquin
1487:Compositional method
1467:Works for solo piano
816:(1). Dallas: 19–27.
509:and consists of 129
332:(the latter two for
1586:Johann Georg Mozart
1521:Neue Mozart-Ausgabe
1514:Alte Mozart-Ausgabe
1166:Neue Mozart-Ausgabe
1067:Neue Mozart-Ausgabe
897:Neue Mozart-Ausgabe
869:Neue Mozart-Ausgabe
840:Neue Mozart-Ausgabe
759:Neue Mozart-Ausgabe
747:Neue Mozart-Ausgabe
727:. With the playful
1580:Karl Thomas Mozart
1191:, mozart-archiv.de
1075:, autograph, p. 6r
1048:'s interpretation
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393:Johann Anton André
369:Märchenerzählungen
1763:1786 compositions
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1189:Rondeaux (5.9 MB)
1185:Menuetto (4.1 MB)
1101:978-0-19-514640-0
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930:978-1-107-11671-9
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307:Ludwig von Köchel
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1675:Georg Nissen
1622:Sophie Weber
1598:Joseph Lange
1592:Franz Mozart
1519:
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1414:Pet starling
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1146:Trio in Es (
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707:relative key
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525:II. Menuetto
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281:basset horns
260:
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205:E-flat major
179:
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47:W. A. Mozart
35:
29:
1649:Freemasonry
1374:Nationality
1354:Biographies
1236:Piano trios
1161:(in German)
905:(in German)
882:(in German)
853:(in German)
721:major scale
695:minor scale
692:subdominant
429:harpsichord
1752:Categories
1632:Influences
1477:Symphonies
1364:Grand tour
1359:Birthplace
1263:Kegelstatt
1117:, p.
1073:"Rondeaux"
1062:"Rondeaux"
735:References
643:alla breve
483:I. Andante
472:Allegretto
303:Kegelstatt
263:Kegelstatt
225:manuscript
221:piano trio
189:piano trio
187:498, is a
113:Dedication
100:1786-08-05
43:Piano trio
1639:Beethoven
1384:Scatology
1379:Residence
1347:Biography
1265:), K. 498
1015:0080-4452
975:906084406
947:(1962) .
822:0898-5987
677:variation
673:cantabile
583:chromatic
519:gruppetto
450:movements
397:Constanze
378:Max Bruch
142:Movements
121:Published
81:Catalogue
1713:Category
1558:(sister)
1552:(mother)
1546:(father)
1501:Editions
1389:Smallpox
919:(2017).
880:, 1966)
851:, 1966)
723:(VI) of
712:♭
682:♭
662:Rondeaux
591:concerto
587:triplets
567:♭
559:dominant
552:♭
468:Rondeaux
463:Menuetto
440:♭
415:Analysis
309:'s 1862
292:♭
269:skittles
193:clarinet
157:clarinet
92:Composed
72:♭
1668:Related
1659:Salieri
1472:Sonatas
1174:at the
1163:in the
1042:YouTube
703:F minor
688:C minor
666:Rondeau
515:repeats
458:Andante
341:Artaria
215:History
150:Scoring
127: (
98: (
1726:Portal
1564:(wife)
1536:Family
1457:Operas
1452:Masses
1442:Dances
1404:Prague
1399:Berlin
1144:
1098:
1023:766166
1021:
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820:
717:unison
557:, the
366:wrote
238:Lieder
135:Vienna
106:Vienna
18:K. 498
1654:Haydn
1582:(son)
1576:(son)
1429:Music
1419:Death
1394:Italy
1154:Score
1019:JSTOR
902:p. 43
874:Plath
845:Plath
701:) of
555:major
443:major
399:(the
316:This
277:Horns
201:piano
197:viola
167:piano
162:viola
145:three
75:major
1369:Name
1198:and
1156:and
1096:ISBN
1011:ISSN
971:OCLC
961:ISBN
925:ISBN
878:Rehm
849:Rehm
818:ISSN
729:coda
641:(or
564:to E
545:time
511:bars
507:time
425:clef
328:and
199:and
191:for
177:The
129:1788
125:1788
1238:by
1119:262
1040:on
1003:doi
999:111
562:key
491:of
435:of
240:, "
207:by
203:in
87:498
65:Key
45:by
1754::
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374:Op
313:.
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185:K.
183:,
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85:K.
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538:4
500:8
437:E
372:(
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69:E
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