Here are six of the most studied, performed, and recorded trios for piano, violin, and cello. They include the popular trio in D Major, Op. 70, No. 1, which was named the Ghost trio by Beethoven's student, Carl Czerny, who thought the eerie second movement suggested the specter of Hamlet's father. Additional works include the trio in E-flat Major, Op. 1, No. 1; the trio in G Major, Op. 1, No. 2; the trio in C Minor, Op. 1, No. 3; the trio in E-flat Major, Op. 70, No. 2; and the trio in B-flat Major, Op. 97, also known as the Archduke trio. These works are reproduced from the authoritative Breitkopf and Härtel editions. Durable but inexpensive, this edition features a sturdy binding that allows pages to remain open on music stands for years of use and enjoyment. Reprinted from the definitive 19th-century Breitkopf

In Beethoven?s Triple Concerto a piano trio provides the soloists a first in the history of music. Beethoven?s treatment of the trio is pioneering: he does not apply a typical piano trio setting in contrast to the orchestra but varies his treatment of the solo parts allowing each instrument to play alone with the orchestra (particularly the cello) using two solo instruments together in ever new combinations and finally bringing together all three instruments with the orchestra. Beethoven weaves a complex web the orchestral piano violin and cello voices interplaying and entwining and he produces a true masterpiece. Bärenreiter?s new Urtext edition ofBeethoven?s Triple Concerto is a completely fresh revision of this warm and beautiful showpiece. Errors abounded in all previous editions but with the assistance of three newly-discovered sources editor Jonathan Del Mar has cleaned up the text corrected wrong notes and rhythms and (for the first time since 1807) presented the work in a way that a musician of Beethoven?s day might have recognized with all necessary information for directing the piece included in the solo piano part. Piano reduction with separate parts for all three soloistsDraws on three new sourcesCorrection of many errors found in previous editions

Piano Trio in B-flat major Op.133 for Piano Violin and Cello. One year after the completion of the 'Quartett-Konzert' Op.131 Louis Spohr finished his fourth Piano Trio Op.133 (1846). The first Piano Trio was greeted by the musical world with 'uncommon joy'. Whilst Spohr often wrote a final movement in virtuoso form in order to secure an effective ending the strength of the final movement in Op.133 lies in its pleasant lightness transparency and rhythmic pithiness. This Trio is earnestly recommended to professional artists and amateur musicians as a graceful chamber composition of the romantic period.

Grundlage des 2004 für das australische Macquarie-Klaviertrio entstandenen Werks ist ein russisches Märchen: Eine junge Frau entdeckt beim Wasserholen im Brunnen einen verzauberten Mann. Die Musik schildert, wie die beiden sich ineinander verlieben, dann ihren immer leidenschaftlicheren Tanz. Doch der Wassermann kann an Land nicht überleben und verrinnt im Sand - einen letzten Tropfen kann die Frau auffangen und zurück in den Brunnen bringen, wo sie sich, selbst vom Wasser aufgenommen, schließlich in eine Lilie verwandelt wird.Die effektvolle, poetisch-lebhafte Komposition in drei Sätzen ist russisch koloriert und vor allem in der Geigenstimme vielfältig gestaltet mit Glissandi, Doppelgriffen, Pizzicati, Trillern und Flageoletts. / Violon, Violoncelle Et 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.

Pour Piano Violon et Violoncelle-Full score and complete set of parts for Gabriel Faure's Trio Op.120 for Piano Violin and Cello.