For more than forty years Allain Gaussin fascinated by astrophysics has found a major source of inspiration in observing the cosmos as attest a number of works going from Vent solaire (1974) to Philae (2015) by way of L’Harmonie des sphères (2006). Ten years later the 'Messiaen du Pays de la Meije' Festival hosted the first performance of the piano trio Les Céphéides. The musical journey enables the listener to enter a space 'just as impalpable and fragile' as that in which moves each Cepheid variable – this star whose brightness varies over regular periods according to two elements: the diameter of the heavenly body and thetemperature reading of its surface. How does one translate such a change in music? The bow's sautillé gettato on the violin and cello gives the score's opening pages this granular glittering that leads us 'towards the centre of the Cepheid variables'. From there a stream of colourful arabesques – the composer's 'ribbon figures' – gushes forth. After a weightless transition the cello unfurls its contemplative meditation which ends up in a suspended coda open onto the infinity of the starry vault. As musicologist Michèle Tosi accurately says so it is that the full richness 'of a teeming imaginary universe' unfolds.

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.

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)

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

Piano Trio no. 2 in c minor op. 66. After the great success of his first Piano Trio in d minor op. 49, some five years passed before Mendelssohn set to work on a new composition for this formation. But then the c-minor Trio came into being in a relatively short period in March/April 1845 and was published around a year later. Much more sombre in character than the sibling work, this second trio is also considered much more difficult in terms of technique (above all in the piano part). Thus, it has always stood somewhat in the shadow of the earlier trio. However, chamber music aficionados generally regard it as the more mature and challenging work in terms of compositional technique. The trio, taken from the volume Mendelssohn · Piano Trios HN 957, is now available from Henle for the first time also as a practical single edition.