Piano trio - intermediate

SKU: HL.49016763

Composed by Kurt Noack. Arranged by Wolfgang Birtel. This edition: Saddle stitching. Sheet music. Misc. Score and parts. Op. 5. 20 pages. Schott Music #ED20106. Published by Schott Music (HL.49016763).

ISBN 9790001146173. UPC: 884088204570. 9.25x12.0x0.087 inches.

The only work still known today by Noack, 'Heinzelmannchens Wachtparade' [Parade of the Brownies] Op. 5 was called a 'character piece' by the composer himself, and this 'marche en miniature' conveys wit and good humour from the beginning; you can immediately imagine a picture of the brownies tripping along! The second part of the trio offers an ironical and very effectie ending with its enticing harmonies and surprising effects.

(in B-flat major op. 18). Composed by Johannes Brahms (1833-1897). Edited by Christopher Hogwood. Arranged by Theodor Kirchner. For violin, cello and piano. Score with parts. Published by Baerenreiter Verlag

(Piano Trio). By Peteris Vasks (1946-). For Cello, Piano/Keyboard, Violin, Piano Trio (Score and Parts). Ensemble. Softcover. 50 pages. Schott Music #ED21375. Published by Schott Music

Composed by Johannes Maria Staud. Breitkopf and Haertel #EB 9365. Published by Breitkopf and Haertel

Violin, cello and piano

SKU: BO.B.3713

Composed by Joaquim Malats. Published by Editorial de Musica Boileau (BO.B.3713).

Without doubt, the most important chamber music work by Malats, and one of his finest compositions, is his Trio for Violin, Cello and Piano in B Flat Major. It was composed in 1898.

Malats dedicated the Trio to one of the greatest composers of all time, Camille Saint-Saëns, close personal friend of both Malats and Granados. An unknown gem of the chamber music repertoire, this Modernist work is superior in form, technique and musical content to similar work by Granados, Breton, Chapi and others.

Malats had considerable knowledge and experience with the trio form. In 1894 at the Sala erard in Paris he performed four trios by Beethoven, Mendelssohn, Godard and Saint-Saëns with C. Flesch and Hasselmann. Given his experiences with chamber music it is not surprising that Malats exhibited such confidence and security in writing his Trio maintaining perfect balance and dialogue between the three instruments which he achieved through masterful control of the formal structure. This work has a rich harmonic language and none of the Nationalist qualities of his previous pieces. Instead, it reveals Malats proximity to then current European music yet, at the same time, exhibits his personal style and musical knowledge.