the themes of haydn's trumpet concerto in e-flat major are angular and atonal.

Things came together in the Piano Quintet in E-flat, Op. Still, the finale went like the wind it was exhilarating, and they pulled it off, but I'm not sure it was Beethoven. There was more shading, subtlety, and varied dynamics, the funeral march was appropriately misterioso, the minuet appropriately graceful. 3 in C, one of those set dedicated to and named after Count Rasumovsky (1806), Zhou and Wang switched chairs, something you don't see that often, and it seemed to help the overall effect. Robust muscularity, typical of Ludwig van Beethoven (1770-1827) in his middle period, suited the group's character better. This is one of those works where Mozart marks both halves of the first and second movements to be repeated, and when observed, this can give the piece additional grandeur and spaciousness without descending into longueurs, as may be heard on this YouTube performance. There was no let-up in the tension in the remaining two movements, so that the whole performance came in at an exceptionally fast 26 minutes the Zelter did have a habit of clipping phrase-ends, though, which added a touch of what felt like glibness.

The “slow” movement isn’t, really, being marked Andante con moto, but in this performance it seemed tugged forward a little too much (exposition repeat again observed).

After the welcome repeat of the first movement exposition, the development was as tight as a coiled spring, and the drive back into the recapitulation had a kinetic inevitability, though with careful observance of the quarter-measure rests with which Mozart interrupts progress.

The themes of haydn's trumpet concerto in e-flat major are angular and atonal.