Par MOZART WOLFGANG AMADEUS. Since their publication in the New Mozart Edition, Mozart's sonatas K. 10–15 count as piano trios. Furthermore, the title of the first edition, published by father and son Mozart in 1765 reads 'Six Sonates pour le Clavecin qui puevent se jouer avec l'accompagnement de Violon ou Flaute Traversiere”. In other words, these pieces are harpsichord sonatas that may be accompanied at will by a violin or a transverse flute. In a partial press run of the first edition a cello part was included. Our new edition is the first to take these conflicting formats into account by presenting two separate versions, one being the unaltered harpsichord part, the other a full score with separateinstrumental parts for violin/flute and cello. The harpsichord part [CV 51. 010/10] is indeed capable of standing by itself and requires no instrumental expansion. The melody instrument, in contrast, merely function as an accompaniment or contribute brief interjections, or, in the case of the cello, reinforce the left hand of the keyboard. In other words, K. 10–15 are not only Mozart's earliest piano trios, they are also his earliest keyboard sonatas to survive intact./ Répertoire / Violon, Violoncelle et Piano

Arranged From The Piano Duet K497-This Piano Trio started life as Mozart's Piano duet K497. John Cooley's arrangement of it for Piano trio is very successful and brings this lovely piece into the hands of string players. SJ Music has also published Cooley's arrangement of Mozart's Piano duet K521 for Piano quartet (Q1995-2).

Par ULEHLA LUDMILA. Dream Trio was actually inspired by the concept of unique thoughts developing during sleep. The trio's two movements portray these changing fantasies to the delight of both performers and listeners./ Répertoire / Violon, Violoncelle et Piano

Par MOZART WOLFGANG AMADEUS. Editeur(s) d'origine: Marguerre, Karl/ Répertoire / Violon, Violoncelle et Piano

Par VAZART CLAIRE. L'oeuvre s'articule en trois mouvements. Le Prélude, au violoncelle seul, annonce les éléments mélodiques-rythmiques développés par la suite. Son thème en quartes issu des 4 cordes à vide de l'instrument se retrouve de façon cyclique dans les deux autres mouvements, Andante cantabile et Vivo à 7 temps. A la croisée de ces univers musicaux, le Libertrio est une oeuvre résolument rythmée et volontairement métissée, rythme et métissage qui en font sa richesse et son originalité. / Niveau : Moyen Avancé à Assez Difficile / Moderne / Date parution : 2009-11-01/ Répertoire / Violon, Violoncelle et Piano