Opus 65-Dvo ák worked longer and more intensively on this Trio than on just about any other chamber music work. After his first successes with pieces inspired by Czech folk music namely the popular Slavonic Dances (HN 757 and918) he now wanted to prove himself as a composer of the highest order. This is why in the following summer he thoroughly reworked the Trio that he had written within eight weeks in spring 1883 before giving it to his publisher.Although Brahms? music was the undeniable model for the new work it did not hinder the unfolding of a very personal tone that blends expressiveness and passion. As with the ?Dumky? Trio op. 90 (HN 799) Andreas Groethuysen isonce again responsible for the fingerings of the Piano part.

Piano Trio no. 1 in d minor op. 49. Mendelssohn is considered a self-critical composer, who repeatedly reworked a number of his pieces until he deemed them worthy to be published. The path to his first Piano Trio was particularly rocky: only after several attempts was he able to complete it in the summer of 1839: it appeared in 1840 after further revisions. This perfectionism paid off, for Mendelssohn?s d minor Trio was immediately received with enthusiasm. Robert Schumann wrote: ?It is the master trio of the present day, like those of Beethoven in Bb and D and that of Franz Schubert in Eb were in their time: a very beautiful composition which after years will still delight grandchildren and great-grandchildren.? Which was to prove true: even today, it numbers among the most popular works in the trio repertoire in general. 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.

Fragments K. 442-Mozart often began work on a composition only to put it aside unfinished. Some of these fragments contain wonderful music as is proved by these three Piano trio fragments. Mozart composed them at different times as individual movements though the posthumous first edition brought them together as a supposedly new and unknown Piano trio by the composer and on this basis they were given the number ?442? in Köchel?s catalogue. The first edition used completions by Mozart?s friend Abbé Maximilian Stadler that were stylistically correct but possessed little originality. This Henle Urtext edition offers both these versions andnewly-composed highly rewarding completions by Robert D. Levin.

Klaviertrio-As with all of his mature chamber music works Ravel also emerges as an innovator of traditional forms and techniques in his piano trio composed in 1914. Thus the ?Passacaglia? movement corresponds to the underlying form of theBaroque Period. The music on the other hand was according to Ravel ?like that of Saint-Saëns? which was surely meant ironically. For the historicizing template only served as a framework for experiments with musical idiom: froma constant oscillation between major and minor to combinations and overlaying of the most diverse metres. The fingering for our edition of this technically extremely demanding work was provided by the renowned French pianistPascal Rogé.

Geoffrey Poole's Look Behind You! for Piano Trio.The title signals a piece that is full of surprises exploiting the rapid response factor of lively young performers and responding to the brilliance of Turkish wedding music. It was composed shortly before its premier on 15 March 2002 at the Victoria Rooms Bristol (as part of the Schubert Ensemble's residency at Bristol University) and is dedicated to the composer's predecessor and colleague Adrian Beaumont. - Geoffrey Poole

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.