Het Mataca trio is opgericht in 2017 en bestaat uit de Japanse pianiste Mao Omori, de Japanse violist Takuto Takagishi en de Spaanse cellist Carlos Leal Cardin. Zij richten zich met name op het uitvoeren van composities uit de klassieke en romantische periode.
In dit concert brengen zij werken van Wolfgang Amadeus Mozart en Felix Mendelssohn.

MATACA trio was founded in 2017. This trio consists of Japanese pianist Mao Omori, Japanese violinist Takuto Takagishi, and Spanish cellist Carlos Leal Cardin. All three completed a Bachelor of Music in Classical Music and now study Early Music at the Royal Conservatoire of The Hague. They are especially interested in playing pieces from the Classical to Romantic eras, including pieces by Mozart, Beethoven and Mendelsohn.

About the program
Both the Twelve Variations and Piano Trio K.548 may have been influenced by the operas and symphonies Mozart was composing around the same time. Mozart’s famous operas, Le Nozze di Figaro and Don Giovanni, were composed at the same time as the Twelve Variations, in which each variation is characterized by different rhythmic patterns.

Piano trio in C Major K.548 was composed around the same time as the symphonies in E flat (No. 39) and G minor (No. 40), possibly to be played at one of the concerts of these symphonies. This was a period of financial and personal hardship for the Mozart family: they were in debt, partly due to reduced aristocratic support for the arts, Austria was at war with the Ottoman Empire, Mozart’s wife Constanze was ill and required expensive treatment, his father died the year before, and his fourth child died shortly before this trio was written. However, there seems to be no clear link between his father’s death and his music: the mood alternates freely between cheerful and sad.

Mendelssohn’s Piano Trio No. 1 in D minor Op. 49 is undoubtedly one of his masterpieces. This trio was an immediate success after Mendelssohn himself performed its premiere. A renowned pianist himself, the piano part is accordingly full of virtuosity.

The natural beauty of the melodies in this piece is typical of Mendelssohn’s compositions, and can be heard especially in movement 2, the “Song without Words”, led by the piano.