Around 1800 Beethoven seems to have completely distanced himself from chamber music for wind. In letters to his publisher we read that he did not have any particular regard for his Septet op. 20 and the Sextet op. 71; furthermore, he did not write any new works for wind ensembles. By contrast, he ennobled his Trio op.87 – originally for two oboes and cor anglais – by making an additional version for two violins and viola. This charming work is published following the Urtext in the Beethoven Complete Edition and is a welcome addition to the repertoire for these instruments for which a great deal has not otherwise been composed.
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Hans Winterberg's Streichtrio from 1960 is one of the composer's most substantial chamber music works. On the one hand, he achieves a fascinating symbiosis of the most important tendencies of German-Austrian and Czech modernism in the first half of the 20th century; on the other, he takes a decisive step towards a tonal language in which the focus is no longer on harmonic-melodic complexity, but on the sensation of different tempo experiences occurring simultaneously. This path, which originated with Janácek,finally culminated in the works of the late 1960s, above all in Rhythmophonie for symphony orchestra, in which this compositional principle became the title. Winterberg, born in Prague in 1901 to a Jewish family that had lived in Prague for centuries, studied there with Alexander Zemlinsky and Alois Hába, among others. He survived the Shoah thanks to lucky coincidence and emigrated to Munich after the war, where he enjoyed a successful second career as a composer in the 1950s and 60s. The String Trio was recorded in 1962 by the members of the Bavarian Radio Symphony Orchestra Angelika Rümann, Franz Schessl and Wilhelm Schneller in the Bavarian Radio studio. The Münchner Streichtrio played the world premiere coram publico in Esslingen in 1964.
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More than a few experts and aficionados count Mozart's string trio in E-flat major K. 563 among his most magnificent compositions. This masterwork, entered into Mozart's own catalog of works on 27 September 1788 as a “Divertimento,” presents the Urtext editor with great challenges. The autograph manuscript has been lost since that time, and no other first-rate source texts exist. The most reliable, albeit clearly imprecise, source is the first edition, published two months after Mozart's death. Many twentieth-century editions, however, unfortunately reprinted the musical text of Breitkopf & Härtel's so-called “Alte Gesamtausgabe” (Old Collected Edition), which was edited by none other than the violinist Joseph Joachim on the basis of incorrect copies and is therefore completely corrupt. Even the “Neue Mozart-Ausgabe” (New Mozart Edition) is not error-free. The Henle edition essentially follows the first edition, though aided by numerous corrective interventions, described in the Critical Commentary. The edition's Appendix presents the surviving fragment of the string trio movement in G major, K. Anh. 66 (562e). How unfortunate that Mozart never completed this equally wonderful music, which continues a little beyond the exposition and thus may quite aptly serve as a short encore. The three individual parts offer optimal flow for reading and playing thanks to the artful apportioning of notes in their layout, including, for instance, various foldout tables and individual pages left blank. The study edition (HN 9625), available separately, provides the full score to this edition of the parts.
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Light and Matter was jointly commissioned by the Library of Congress, Britten Sinfonia, Norrbotten NEO and the Aeolian Chamber Players in honour of the 50th anniversary of the Bowdoin International Music Festival. Composed in 2014 by Finnish composer Kaija Saariaho, the piece is for violin, cello and piano.
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Ghetto Terezín
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Due to a differing timbre, the viola receives its own voice in Carter's String Trio, which features the instrument prominently throughout the work. 7 minutes.
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Jacques Ibert (1890-1962) studied at the Paris Conservatoire before embarking upon a successful composing career. The composer wrote for a variety of instrumentations and his works remain popular to this day, Trio for Violin, Cello and Harp being no exception. Composed in 1944, Trio is suitable to advanced level violinists, cellists and harpists. Ibert was a unique composer who did not associate himself with any particular style. His music is generally lighthearted, often reflecting the composer's wit and humour. Containing a variety of musical aspects and techniques, and significantly composed for an unusual arrangement of violin and cello with harp accompaniment, Ibert's Trio is an exciting addition to the advanced level violin, cello and harp ensemble repertoire.
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2 violins, cello and piano (left hand).
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2 Violins and Basso continuo.
UMPC Critical Editions
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Joseph Haydn composed twenty-one string trios for two violins and violoncello, of which three have been lost. These chamber music gems, which do not turn up very often on concert programs, are full of surprises and provide much playing enjoyment. Based on the Haydn Complete Edition, also published by G. Henle, Haydn's eighteen surviving string trios are presented in two practical volumes. The second contains Trios Hob. V:15-21. The Critical Report provides valuable information about the trios' genesis and sources.
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Following the first two volumes of Haydn'S string trios in a study score (HN 9424 und 9425), we are now publishing the third and final one. Although Haydn is said to have composed about 60 string trios, most of them must be discounted for source-critical and stylistic reasons. The eighteen trios which definitely lay claim to authenticity were published in volumes 1 and 2. The third volume contains eight trios attributed to Haydn, although his authorship cannot be proven. In addition to the Urtext edition (HN 628) these charming works are now also available in a handy score format. The musical text is that of the Haydn Complete Edition and it has been complemented by a new and informative preface by the Haydn scholar Sonja Gerlach.
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Composed in 1945 MORE»
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Violin, Viola and Violoncello. Score and parts.
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The Belgian composer, conductor and violinist Eugène Ysaÿe (1858-1931) was among the great virtuosos of his time. His trio “Le Londres” was originally conceived as a sonata for two violins for his pupil Queen Elisabeth of Belgium. As it was technically too demanding, Ysaÿe rearranged it for two violins and viola.
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Turlough O'Carolan (1670-1738) is considered to be the last great harp player of Ireland. He knew how to combine Irish music with Italian Baroque music, thus creating a large number of compositions, about 200 of which have survived. 16 of them were selected by Patrick PföB and arranged for two violins and cello for this edition.
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The string trio arrangement of Elgar's first published work is still a popular piece that offers the players a rewarding task and guarantees enjoyable music-making.
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This Sonata in E minor was originally the first sonata in Trois Trios d'une Difficulté Progressive pour le Violincelle, Viola, et Violincelle, Op. 38. The present edition, arranged for three cellos, is ideal for cello lessons.
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Following the first two volumes of Haydn's string trios in a study score (HN 9424 und 9425), we are now publishing the third and final one. Although Haydn is said to have composed about 60 string trios, most of them must be discounted for source-critical and stylistic reasons. The eighteen trios which definitely lay claim to authenticity were published in volumes 1 and 2. The third volume contains eight trios attributed to Haydn, although his authorship cannot be proven. In addition to the Urtext edition (HN 628) these charming works are now also available in a handy score format. The musical text is that of the Haydn Complete Edition and it has been complemented by a new and informative preface by the Haydn scholar Sonja Gerlach.
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If you're ready for some real fun you'll love this piece commissioned and recorded by An die Musik. Dr Ruth Westheimer narrates the CD recording of the composer's witty and humorous version.
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