Analysis Of Wolfgang Amadeus Mozart

In the first movement of his Kegelstatt Trio for Clarinet, Piano, and Viola K. 498, Wolfgang Amadeus Mozart hints at various styles and topics, such as sensibility and sturm und drang, overall creating an intimate vivid experience for both the performers and the listeners. Before this trio was composed, the combination of clarinet, viola, and piano was unheard of. Classical piano trios at this time primarily included a high melodic instrument, as well as a bass instrument; the common violin cello piano trio for example. This instrumentation however, includes two instruments that primarily take melodic soloistic roles, leaving out a prominent bass voice that one has come to expect. This unique combination can likely be attributed to the performers

Mozart is able to dramatize this graceful movement by including a strong sense of chromaticism. While the movement begins almost entirely inside the parameters of E-flat major, chromaticism is slowly included further and further, until finally the movement is able to climax and softly fade away back to the opening gesture. Another prevalent feature of this style is various sighing features. This motive is usually double in the clarinet and viola, over a longing melody in the piano. Mozart is able to exaggerate this figure as well, by later having the piano join the other voices in this sighing action, leaving dramatic pauses in-between. The final strum und drang iteration is the use of sudden varied dynamics. Seen as early as the opening gesture, Mozart has the first chord struck forte, with the following gesture being marked piano, allowing it to speak as an afterthought; overall further emphasizing the conversational nature of the piece. Through imposing gestures of sensibility and sturm und drang, Mozart is able to create the playful, intimate, and conversational mood in which the Kegelstatt trio embodies; overall signifying how appropriate the original performers and audience were in the piece’s