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?Franz Schubert (1792-1828) only ever completed one string trio, his Trio in B flat D581 (1817). The writing is clearly inspired by the works of Mozart, not from a great trio like the Divertimento KV563, but from easier and made-for-piano genres like the violin sonatas. The cello, in fact, still remains in the orbit of the basso continuo, while the viola accompanies the main theme with formulas similar to the Alberti bass. Schubert's spark, however, is present in this minor work, for example in his way of dilating time at the beginning of the development with a phrasing that stretches, with simplicity, to infinity. The writing reveals a glimmer of the orchestral sound of the great chamber works of the last period, but nevertheless it remains linked to the elegant style of the late 18th century. Wolfgang Amadeus Mozart's (1756-1791) Divertimento in E flat KV564 (1788) was written for Michael Puchberg, a music lover who often financially supported Mozart in the last years of his life. The work bears the clear imprint of Masonic symbology, based around the number 3. The Divertimento presents several enigmatic aspects, firstly the choice of title. 'Divertimento', like cassation or serenade, was a genre of music entertainment, without intellectual ambitions or strong emotions. In Divertimento KV563, the three musicians must be high-level virtuosos to play their parts, which explore the full register of each instrument in a dialogue intertwined with contributions at the same level from the three participants. The only link with the traditional genre is the high number of movements (six), including two minuets. In this piece, Mozart's writing shows an extraordinary richness with respect to thematic invention, with an overabundance of ideas that feed a dense polyphonic dialogue. Mozart was experimenting with a fusion between the forms of instrumental music and the dramaturgy
