Trio: originally, a contrapuntal composition in three parts; in chamber music, it is a composition for three players. In the Classic Era, the piano trio began it's development into the form of three equal players that we know today. It started out mostly as a sonata for piano with accompaniment by violin (or flute) and cello but Wolfgang Amadeus Mozart (1756-1791), along with his predecessor, Joseph Haydn, took the trio form to a more mature level; freeing the cello from the supportive basso continuo part of the baroque era by giving it an equal voice and writing the violin/flute as a separate treble part to the right hand of the piano - not merely doubling it. Mozart was a consummate composer of opera where each character on the stage has a part important in the integrated whole. The same is true for his trios - which make them really fun to play. The Trio in C, K. 548, was written in the period of the last three symphonies and corresponds with some of the musical character of the Symphony No. 41 "Jupiter," also in C Major. Bernard Jacobson writes for a performance of the Beaux Arts Trio, "Both works open with specimens of those formalistic 'calls to attention'; both are full of little chromatic touches and intricate contrapuntal touches; and both have Andante cantabile slow movements in spacious 3/4 meter." The third movement is a rondo with a witty "hunting" theme passed between the piano and flute which returns slightly changed throughout and with ever more complicated voicing.
The Romantic era expanded the form of the piano trio both in terms of length and in harmonic/melodic textures. Clara Wieck Schumann (1819-1896) wrote her Trio in G, Op. 11 in 1846 and gave it to her husband, Robert, as a gift for their seventh anniversary. While the Romantic era trio still gives the bulk of the work to the piano, the flute and cello gain more independence and importance in the statement and exchange of musical ideas. Schumann's Trio is a prime example of a well-proportioned work in four movements with lyric melodies, thick textures, rich harmonic progressions and true interplay among all the instruments. Things of note to listen for: the interweaving of the two themes of the Allegro moderato, one melodic and the other rhythmic; the dotted "Scottish Snap" rhythm of the Scherzo contrasting with the long lyric phrasing in the Trio section; the straightforward simplicity of the Andante with the opening melody passing from the piano to the flute and returning in the cello; and the wonderful fugue in the Allegretto.
One simply cannot talk about Clara Schumann's work without talking about her life. Like Mozart, Clara's father trained her to be a quintessential musician: concert pianist, singer, composer. Clara was renown for her piano concerts and, throughout her life, championed music of Robert Schumann, Johannes Brahms and Beethoven. She was considered among the ranks of Chopin and Liszt in her concertizing - no small feat for a woman at that time, who also continued to perform even during her pregnancies. Her life with Robert was filled with the wonderful exchange of rich ideas and shared compositional study - the Trio being one of her best works. Marriage to him, however, was also detrimental to her composing. She bore eight children and Robert was mentally unstable; eventually being committed to an asylum. Clara never considered herself a force in the composing world, partly because she and others compared her work to that of her husband and of Brahms and partly because the climate for female composers was so harsh. Even well composed pieces were met with reviews starting with, "Considering the composer is a lady..."Today we would call her a superwoman.
The 20th century brought more interest in exploring the different tonalities of each instrument as well as experimenting with forms. Ostinaughty, written by Paul Hoffman for the Silverwood Trio, explores/exploits the tonalities, ranges and characteristics of each insturment (and instrumentalist, in this case). Hoffman writes: "According to the Harvard Dictionary of Music, an ostinato is 'a clearly defined phrase that is repeated persistently, usually in immediate succession, throughout a composition or a section.' In this case, Ostinaughty is several ostinato that have been very, very bad. The piece is basically in rondo form. The flute sets all into motion by stating the principle theme which is characterized by two upward arpeggios played in quick, syncopated bursts. Upon the theme's return in a lower octave, the cello joins in only to be interrupted by the piano with the first of several ostinato that pervade this work. A slower, more melodic section in a waltz tempo follows. To accompany this new melodic material, the piano part utilizes the upward arpeggio motive of the principle theme. The flute manages to shake lose the other two instruments for a moment and, after a brief cadenza, returns to the first ostinato. Some old material is brought back before we hit what I call the Be-Bop section. Here the flute player gets to sing and play at the same time! The piece concludes with a final restatement of the principle theme in unison by all three instruments ending with an apologetic two note cadence marked pianissimo."
--Notes by Cindy Woolley