With its evocative name, Trio Bagatelle has set itself the mission of serving the classical repertoire — and in particular, Viennese Classicism.
It was therefore only natural for the trio to devote its debut album to Mozart, through three works composed in Vienna between June and October 1788: the trios in E major K.542, C major K.548, and G major K.564.
Although composed within a short span, each of these pieces has its own distinct character: intimate and romantic for the first, majestic and brilliant for the second, and marked by Mozart’s delicate simplicity, with quasi-folk inflectionsin the last.
Written in quick succession, these trios form a set with remarkable stylistic unity. The year 1788 was a particularly prolific one for Mozart, during which he also composed his famous Symphonies No. 40 in G minor and No. 41, the “Jupiter”.
While the nobility of the C major trio and the festive energy of the G major one echo The Marriage of Figaro and Don Giovanni, the E major trio seems to foreshadow the expressive world of Così fan tutte.
In our interpretation, we sought to capture Mozart’s theatricality, while also preserving the spirit of friendly conversation that animated his chamber music. These are musical conversations that are anything but superficial — they are reflections of souls meeting in true friendship.
As our “salon”, Studio Sequenza, under the generous guidance of Thomas Vingtrinier, welcomed us warmly. He masterfully captured the essence of our musical complicity, which permeates the entire album.
With its evocative name, Trio Bagatelle has set itself the mission of serving the classical repertoire — and in particular, Viennese Classicism.
It was therefore only natural for the trio to devote its debut album to Mozart, through three works composed in Vienna between June and October 1788: the trios in E major K.542, C major K.548, and G major K.564.
Although composed within a short span, each of these pieces has its own distinct character: intimate and romantic for the first, majestic and brilliant for the second, and marked by Mozart’s delicate simplicity, with quasi-folk inflectionsin the last.
Written in quick succession, these trios form a set with remarkable stylistic unity. The year 1788 was a particularly prolific one for Mozart, during which he also composed his famous Symphonies No. 40 in G minor and No. 41, the “Jupiter”.
While the nobility of the C major trio and the festive energy of the G major one echo The Marriage of Figaro and Don Giovanni, the E major trio seems to foreshadow the expressive world of Così fan tutte.
In our interpretation, we sought to capture Mozart’s theatricality, while also preserving the spirit of friendly conversation that animated his chamber music. These are musical conversations that are anything but superficial — they are reflections of souls meeting in true friendship.
