W.A. Mozart: «Divertimento» KV 563 / Veronika Eberle / Amihai Grosz / Sol Gabetta

Ich kenne keine perfekten Musiker als diese drei ❤😊❤

Ah si les hommes pouvaient dialoguer entre eux comme vous le faites par vos instruments, respectant la différence entre eux, non pas pour s"opposer mais pour construire ensemble! Vous écouter, mais aussi vous voir est un vrai moment de bonheur

the strad that Vernokia Eberle is playing sounds so sweet and rich... we're all fortunate to be able to listen to it. The viola player is using a very rare instrument made by Gasparo da Salo made sometime before 1609, over 400 years old! The cellist is playing an instrument made by one of the finest instrument makers in Europe in the 1700s. These instruments are equal in monetary value to yachts.

Mozart never fails to amaze me again and again in a world of suffering and destruction bringing back the eternal light. Amazingly beautiful but very difficult piece exquisitely played by professional musicians ‼️💖🌸💕 Wish I could have enjoyed this live but thank you for this amazing recording.🎻

With all of the horror and misery brought forth by so much of mankind, its moments like these when I see three people living to their fullest potential to make something beautiful, that I find their is hope for us. Thank you for this moment.

sehr schöne Version, tolle Musiker, aber auch geil aufgenommen. Ein Hoch auf die Soundproducer !!!

As a sidenote: GREAT work from the audio engineers as well! The sound quality of this live recording is marvelous!

This recording is a victory for humanity

I love Mozart's Chamber music with all my heart. His lyricism and harmonic balance makes it perfect to my earls. It is not a surprise then that I have some of mozart's chamber works as the best works ever in the genre. However, this trio is somehting else. It is so unique that it took more than a 100 years for other composers to experiment in this style with success. This is a masterpiece and this performance is superb. Thanks for sharing this with the world.

Mozart,s works are invincible , moist on the earth and human soul . Mozart,s works are forever .

Once or twice in a lifetime do we hear a work of sublime beauty, both superbly played and with such dancing joy. This is one of so many pieces of sheer heaven from Mozart, it's almost to easy to regard this music as the norm, it is far from normal, it is way above the mere mortals of other composers. We all know the symphonys, the quartets the sonatas etc, but this piece is a divertimente, hidden away in a catalogue somewhere! Each of these players sits at the very top of musical greatness, I should know, as a professional player all my life working with the finest musicians in London, these three are among the Best. It is rare to spend 47 mins. in timeless joy!

Why is Mozart so perfect? Always exquisite taste, every note in balance.

What a master piece. Glory to Mozart. And glory to the players; they are absolutely perfect.

the cello player is a work of art in her own right!

Mozart’s Divertimento for String Trio in E-Flat Major, K. 563 This work is definitely one of a kind. It is not only Mozart’s only finished composition for string trio—it also appears to be the first such work by any composer. The backbone of classical style is four-part harmony, which is why the string quartet became the chamber-music medium of choice during this period. To create a similar balance and fullness of sound with only three instruments was a special challenge, which Mozart met not only by the few double-stops he used but mainly by writing three string parts of uncommon richness and intensity. And if that were not enough, he revisited a genre—the divertimento—which he had much cultivated during the early stages of his career but practically abandoned after his move from Salzburg to Vienna in 1781. The early divertimentos were scored mostly for orchestra or wind ensemble. In the late 1780s, armed with the experience of the six string quartets dedicated to Haydn and two of the magnificent viola quintets, Mozart had reached a completely new level of writing chamber music for strings, and when he combined that mastery with the lightness of the divertimento form (the word, we remember, means “entertainment”), the results were extraordinary, even by Mozart’s standards. Many of Mozart’s earlier divertimentos were in six movements, with the slow movement-minuet sequence repeated between the two outer Allegros. This form was retained in K. 563, but the movements became longer and more complex. If this is still “entertainment,” it is no longer music to accompany a banquet or a wedding celebration; it is, much rather, music for an intimate gathering of friends. In fact, Mozart wrote it for his friend and fellow Freemason Michael Puchberg, the man he was desperately asking for money the very same summer of 1788. The trio was probably first performed in the house of this wealthy merchant, perhaps with Mozart on viola. The work opens in a surprisingly subdued way, with the three instruments playing a simple descending triad in unison, sotto voce (softly). It is a curiously understated beginning that determines much of what follows, even though the subsequent materials and developments are considerably more dynamic in nature. The meditative quality of this opening carries over into the second-movement “Adagio,” which is based on an ascending triad unfolding across a wide melodic range. This triad appears in two strikingly different forms: first in a simple version, introduced by the cello, and then in an ornate form, played by the violin. How Mozart managed to build one of his most profound musical utterances from this extremely simple melody is a mystery that will never be explained. The third movement is a minuet where Mozart plays a trick on anyone who would try to dance to this music: the first two measures, though notated in the conventional 3/4 time of the minuet, really break down into three units of 2/4. The normal minuet rhythm then resumes, but other irregularities follow as the musical phrases are expanded in many unusual ways. Next comes a most-compelling set of variations on a simple, folk-like theme. As the variations progress, Mozart gets further and further away from the original theme, taking more liberties with the form as usual. It is particularly noteworthy how he turns each variation into two variations by introducing new changes at the repeat of each section. After a poignant, even tragic minor-mode episode, the last variation contains a highly virtuoso violin part, followed by a coda which recalls the theme in its unadorned original form. The second minuet is much simpler in tone and structure than the first, but it has not one but two trios, both of which are in the style of the Ländler, the Austrian folk dance that would continue to inspire composers after Mozart, from Schubert to Mahler. At the last recapitulation, a lengthy coda is appended to the minuet, developing its thematic ideas in different ways. The ingratiating theme of the finale is closely related to Mozart’s song “Komm, lieber Mai” (Come, month of May) and to the last movement of Piano Concerto, No. 27. The simple melody undergoes some rather bold transformations, but it all ends gently, with a typically Mozartean gesture where the composer appears to be smiling through his tears. (Program notes by Peter Laki)

J'aurais voulu être au premier rang des spectateurs, quel régal!

Fascinating how much music can come out of only three instruments. And this is of course a celebration of these three. Mozart did the right thing when he choosed Veronica, Amiha and Sol to play his Divertimento.

What is this? The 50th time I'm listening to three 3 wonderful musicians have their harmony/melodies intertwining with each other. Displaying all the dance effects desired at Mozart's time, including stateliness -- an effect not used in today's dances. It''s all so wonderful to hear!

heard this yesterday, and had to come back and hear it again. I love this piece for many years now, and this performance is really one of the best I have ever heard. As a violinist I know this is a difficult piece - not just on the pure technical side, but also when it comes to giving it the right sound (spirit, if you will). At the end of the day - this is a "perfect storm" of a composer at his best, musicians at their best, and sound/video technicians at their best. bravo.

아름다운 연주자, 아름다운 선율, 아름다운 연주장소 뭐 하나 부족한 점이 없네요. Thanks for sharing this play