Piano Trio Op.120 for Piano Violin & CelloGabriel Fauré?s Piano Trio his penultimate work was composed in 1922-23 and published in June 1923. The three-movement work clearly shows Fauré?s ability to combine a transparent texture with charming and elegant themes.Until now the composition has always presented musicians with considerable problems as the score offers conflicting readings when compared with the separate string parts. Without reliable information on the different readings important basic information for an appropriate interpretation of the work has been lacking. Bärenreiter?s first ever critical edition of this masterpiecefinally unites the parts with the score. All variants appear in the critical commentary to the corresponding complete edition volume of ?the Complete Works of Gabriel Fauré?.- First scholarly-critical edition of this work- High-quality Urtext edition based on ?the Complete Works of Gabriel Fauré?- Foreword (Eng/Fr/Ger)

For Piano Trio.The Brook Sings Loud was commissioned by the Aberdeen Chamber Music Club for the Kungsbacka Trio.'As this was one of the first pieces that the Club commissioned I thought it would be appropriatefor the piece to have some sort of Scottish theme or influence. I have always been interested in Pibroch (Piobaireachd) - classical bagpipe music that was prevalent from the sixteenth to the eighteenth centuries in the ScottishHighlands. I have not attempted to imitate the sound of the bagpipes; however I have been influenced by some of the techniques associated with this music.'        HelenGrimeInstrumentation:ViolinCelloPiano

When Smetana composed his Piano trio in the autumn of 1855 it was an act of catharsis to recover from the death of his four-year-old daughter Friederike. This highly emotional work was also his first large-scale piece of chambermusic. Its first public performance in December 1855 was regrettably not a great success and so Smetana embarked on a protracted process of reworking it. By the late 1850s it had reached its current form. Smetana always liked toperform it but only found a publisher for it in 1880 when one of his pupils invited the Hamburg publisher Hugo Pohle to a performance at short notice. Smetana specialist Milan Posp Å¡il has based this Henle Urtext edition on thefirst edition by Pohle but has also drawn upon the earlier sources. This has enabled him to iron out numerous inconsistencies found in the first edition.