These range from the melodic and harmonic subtlety of Erich Korngold at a mere 11 years of age the jazz sounds of Wilhelm Grosz a versatile musical talent of the 1920s to the Hollywood sound of the Russian-born Louis Gruenberg. The sound of strings in a new era.For Cello (Violin) and Piano

Score and Parts.Commissioned by the Chamber Music Society of Lincoln Centre. First performance 19 May 1998 Merkin Concert Hall New York City.Quoting Weir: 'In my previous work I have often enjoyed inventing titles whichattempt to encapsulate the particular world of each composition but this fifteen minutes piece for violin cello and piano is simply entitled Piano Trio . What is the reason for this unusually abstract description? I thinkperhaps that in this piece the many external impressions which habitually make up my musical world have become too numerous and too personal to be pinned down in the space of few words that a composition title allows.The firstmovement began in my mind with impressions of Venice as relayed in Schubert's song Gondelfahrer; the crisp midnight air the dark choppy water the bells tolling the gondolier alone in emotional turmoil. Schubert's world is aplace where I can find constant inspiration and strength.The second movement recalls a time when I was called from a phone box in Africa. At one moment I was alone in my room the next (or so it seemed in my imagination)surrounded by light heat and sudden energy and activity. The movement is not however an evocation of African music; it takes the form of a scherzo and trio which collide with each other at the movement's conclusion.Thethird movement formed in my mind whilst I was reading some Gaelic poetry from the Hebridean island of Lewis on Scotland 's far flung Atlantic fringe. I was thinking of the bleached white beaches in that part of the world whereevery object lying on the sand - a washed-up bottle or a bird's skeleton - is a major event in a deserted landscape. The same might be said of this short set of musical variations where melodic fragments are laid out with plentyof space around them clear and plain for everyone to hear.

Score = Piano Part. Par THEODORAKIS MIKIS. Theodorakis composed the 'Trio for violin, violoncello and piano' in Athens during 1946-47. He had just completed his studies in composition at the Athens Conservatory and was preparing himself for his Diploma. However, he was overtaken by the Civil War. Thus, one part of the Trio was written in circumstances of persecution (underground) and another in exile (in the island of Ikaria). It is a work in which - as in the remaining works of that period - the influence of his classical music studies become apparent. Especially in the area of form, as opposed to the selection of the melodic material and the harmonic language, which bring out an authentic and original musical personality that often surprises us for its boldness./ Répertoire / Violon, Violoncelle et Piano

The Black Waters for String Trio was composed by Peter Bruun in 2012. Parts are available: WH31595A Programme note The initial and prevailing theme is from the song 'Det Fagreste Træ' with lyrics by Ursula Andkjær Olsen and music by me. To this song I also owe the title of the piece. The melody in bar 187-217 is quoted from a pearl diver song from Bahrain recorded by the composer and music ethnologist Poul Rovsing-Olsen. Peter Bruun

Debussy composed this work in summer 1880 in Fiesole Italy when he was 18 years old. At the time he was the musical travelling companion of Nadescha von Meck Tschaikowsky’s famous patroness. Most of the autographmaterial was thought to have been lost and was only discovered over 100 years later in 1982 in the estate of Debussy’s pupil Maurice Dumesnil. When Henle published the first edition in 1986 the music world welcomed theTrio with open arms. Ensembles rushed to play it and numerous recordings followed. Although formal conventions prevail the work displays a melodic freshness as well as inflections and phrases that are typical ofDebussy.

Parmi les quatre trios avec piano d'Antonin Dvorak, Trio en fa mineur est la plus romantique, passionnée et, dans le même temps, le plus sombre. Ecrit en 1883, il reflète la tension, la perte, la souffrance et la lutte qui Dvorak a dû faire face pendant un temps oppressant dans sa vie privée et publique. La profondeur pure et d'expression sans faille, et la structure formelle de cette pièce, le rang le Trio avec piano en fa mineur aux côtés des autres chefs-d'oeuvre de l'oeuvre de chambre de Dvorak. Ce titre fait partie de la première édition critique complète des oeuvres de Antonin Dvorak. / Violon, Violoncelle Et Piano

Piano Trios-Les deux trios avec piano de Schubert peuvent indubitablement être comptés au nombre de ses ?uvres les meilleures. Composés tous les deux en 1827 c?est-à-dire un an avant sa mort ce sont des ?uvres caractéristiques de sa maturité riches d?une grande invention mélodique alliée à une forte puissance créatrice formelle et une profonde expressivité. Si le trio en Mi bé-mol majeur op. 100 D 929 fut vendu à l?éditeur de Leipzig Probst (il ne parut cependant que juste après la mort de Schubert) le trio en Si bémol majeur op. 99 D 898 ne fut pas imprimé du vivant du compositeur. L?adagio en Mi bémol majeur op. post. 148 D 897 reproduit en annexe et connu plus tard sous letitre de Notturno fut conçu à l?origine comme mouvement lent du trio en Si bémol majeur. Schubert pourrait l?avoir considéré comme impropre à la publication du fait de son caractère sombre et expressif jusqu?au désespoir. Il ne parut d?ailleurs qu?en 1846. En annexe de ce recueil figure également le premier essai dans le genre du trio composé par Schubert à l?été 1812 alors qu?il était âgé de 15 ans.