The Divertimento for Piano Trio 2006 was begun in December of 2005 as a Non Tanto for piano trio, one of my ongoing series of short works (50-100 measures). It was just a little spark of an idea, but I so enjoyed writing it that another “spark” jumped up almost immediately that also seemed ideal for this instrumentation.

This second piece also fell into the framework of the Non Tanti, but was clearly related to the first, more in the nature of first and second movements of a sonata-allegro form. I decided to add another Non Tanto styled piece to the set, and create a “little long form”. The third piece was not in the nature of a conclusion however; it was more an elaboration of the second piece’s introspection. I knew it must be right, as it came together all in a single day. The following day, section four was born, all motion and attitude, but still without the note of finality. A week later, the fifth piece was complete, clearly exhibiting my ongoing contemplation on the project. Somewhere between the fourth and fifth pieces, it had become clear that this was to be a collection of six Non Tanti for piano trio; somewhere just before the completion of the fifth piece, I knew the final piece would have to reflect the first in some way, thus to make a convincing conclusion to the set.

It was only as I was finishing the fifth piece that the influence of Wolfgang Amadeus began to assert itself, and then concept of the final section became clear. After a day of mental churning the juicy bits of the first section together with casual impressions of Mozartian style and temperament, it came pouring out, more Haynes than Mozart I think (especially in the repeated 8-measure contrapuntal passage), but not without some redeeming quality I hope.

Any of the sections are capable of standing on their own, and thus each carries the title “Non Tanto”, but truly this is a set whose sum is greater than its parts. I see it thus: it is morning, one enters the new day with capriciousness, and sings a comfortable little ballad. With nothing else to do, a walk by a nearby river seems a good next activity for the day; bicycling to the river one meets with other bicyclists and takes a ride along the path one always finds following the riverbank. Later in the afternoon now, and soon it must be time to return home. The shadows elongate across the water; the air cools and there is a quiet that wells up in the background. Above the cool river waters, a lone dark bird is glimpsed through the trees, swooping and soaring on the air currents above the sparkling river flow. Back home finally, the day replays itself in one’s mind, earlier events reinterpreted by the later events of the Arcadian day.

These pieces all bear subtitles in Italian (with English translations supplied):
             1 - “Intrada Capriccio” (Capricious Entrance)
             2 - “Ballata alla Romana” (a Ballad where everyone contributes, or pays their share)
             3 - “Presso al Fiume” (By the River)
             4 - “Le Biciclisti” (The Bicyclists)
             5 - “del Uccello Ascendente” (Of the Soaring Bird)
             6 - “Allegro Ritornello” (Cheerful Refrain)

In honor of the 250th anniversary of Wolfgang Amadeus Mozart's birth, 27 January 1756, I shared one section each day for six days with approximately 60 people in six countries as email attachments; even though some may not have much interest in classical music, and some may not be interested in contemporary classical music, it was my way of marking a happy occasion in music.

On the day in Salzburg, 100 churches rang their bells at 800p, the place and time when Mozart was born. This magnificent sound was broadcast around the world, along with a concert from the Grosses Festspielhaus by the Vienna Philharmonic Orchestra under Riccardo Muti. I particularly enjoyed the "Haffner" Symphony #35 in D on this day. I hope you will give these little musics of mine a listen, and perhaps share them with those you think of when you are happy!

Mozart - and the enormous global celebration and marketing of him and his work - is not without quite valid criticism. Here is an article by Norman Lebrecht, an Australian writer of 10 books about music, published 27 january 2006: