Mozart  (1756-1791)                               “Kegelstatt Trio”, clarinet, viola, piano, K.498

The combination of clarinet, viola, and piano is not only most unusual, but extremely rare. Before Mozart no one had ever composed for a clarinet, viola, and piano combination. Not until the 18^th Century was the combination taken up again: by Robert Schumann and Max Bruch. And here are all three on one delightful program. 

Mozart loved games, whether cards, charades, especially his beloved skittles, an age-old form of bowling, often out-of-doors. So addicted to skittles was Mozart that he could compose while indulging in the game. The German “Kegelstatt” means a place where skittles is played. On the autograph of a set of twelve duos for basset-horns (K.487) Mozart noted that the duos had been composed “Vienna, 27 July 1786 while playing skittles”. The K.498 trio was composed only a week later. But there is no evidence that the trio was composed while playing skittles. That appellation was added by later publishers as Mozart listed the work in his catalogue simply as “Ein Terzett für Klavier, Clarinett und Viola”. 

Here Mozart did not adhere to the traditional musical elements of the sonata form. He replaces the traditional opening Allegro with a slow, contemplative Andante, in the second movement not a slow tempo, but a Menuetto, and for the third movement not an Allegro, but a Rondeaux: Allegretto. The Menuetto is one of those compositions that drives musicians crazy: it is 158 bars of music, almost all of which are repeated. But just which sections when and where and how many times? A complete performance would take about six minutes! Decisions must be made. This Menuetto has been given the definition: “Lose your place”.  

Schumann (1810-1856)                Märchenerzählungen, clarinet, viola, piano, Op.132

Märchenerzälungen translates as “Fairy Tale Narratives” and distinguishes this composition from Schumann’s Märchenbilder, “Fairy Tale Pictures” (for piano). Composed in only a few days in October 1853, the Märchenerzälungen was to be one of Schumann’s last compositions. In March 1854 the composer was committed to an insane asylum in Endinich. Three of the “stories” (Nos.1,2,4) are marked Lebhaft (lively) with No.3 a quiet, slow tempo, to be played with tender expression. But just what are the fairy tales told in these four short contrasting business? Only Schumann knew. 

Bruch (1838-1920)                                                     Acht Romantischen Stücke, Op.83

The chamber music of Max Bruch is not particularly well-known. These Eight Romantic Pieces were composed in 1910 exhibiting a sensitive and emotional romanticism. Each piece exploits the rich dark characteristics of each instrument in a virtuoso display. All but one (No.7) are in a minor key with no two pieces in the same key, totaling eight different keys. No.1 is an Andante, in a minor, is elegiac, richly romantic. No.2 is an “up-tempo” piece, allegro con moto like a gently sweeping wind. No.5 demonstrates Bruch’s interest in folk music, here an Andante in f minor, in the style of a weeping Romanian melody. The four selections end with that single major key piece, a rollicking Allegro vivace, ma not troppo in B Major.

Fauré (1830-1914)                Quartet, No. 1 in c minor, violin, viola, cello, piano, Op.15