For more than forty years Allain Gaussin fascinated by astrophysics has found a major source of inspiration in observing the cosmos as attest a number of works going from Vent solaire (1974) to Philae (2015) by way of L’Harmonie des sphères (2006). Ten years later the 'Messiaen du Pays de la Meije' Festival hosted the first performance of the piano trio Les Céphéides. The musical journey enables the listener to enter a space 'just as impalpable and fragile' as that in which moves each Cepheid variable – this star whose brightness varies over regular periods according to two elements: the diameter of the heavenly body and thetemperature reading of its surface. How does one translate such a change in music? The bow's sautillé gettato on the violin and cello gives the score's opening pages this granular glittering that leads us 'towards the centre of the Cepheid variables'. From there a stream of colourful arabesques – the composer's 'ribbon figures' – gushes forth. After a weightless transition the cello unfurls its contemplative meditation which ends up in a suspended coda open onto the infinity of the starry vault. As musicologist Michèle Tosi accurately says so it is that the full richness 'of a teeming imaginary universe' unfolds.

Piano Trio no. 2 in c minor op. 66. After the great success of his first Piano Trio in d minor op. 49, some five years passed before Mendelssohn set to work on a new composition for this formation. But then the c-minor Trio came into being in a relatively short period in March/April 1845 and was published around a year later. Much more sombre in character than the sibling work, this second trio is also considered much more difficult in terms of technique (above all in the piano part). Thus, it has always stood somewhat in the shadow of the earlier trio. However, chamber music aficionados generally regard it as the more mature and challenging work in terms of compositional technique. 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.

Tonalité : C-Moll - Op.: 24 -. Par HERZOGENBERG HEINRICH VON. Langue : o Spr/ Répertoire / Violon, Violoncelle et Piano

Trio No. 1 for Piano, Violin, and Cello in B Major, Op. 8, Original Version (1854) Allegro con moto Scherzo: Allegro molto Adagio non troppo Finale: Allegro molto agitato Trio No. 1 for Piano, Violin, and Cello in B Major, Op. 8, Revised Version (1891) Allegro con brio Scherzo: Allegro molto Adagio Allegro Trio No. 2 for Piano, Violin, and Cello in C Major, Op. 87 Allegro Andante con moto Scherzo: Presto Finale: Allegro giocoso Trio No. 3 for Piano, Violin, and Cello in C Minor, Op. 101 Allegro energico Presto non assai Andante grazioso Allegro molto Trio for Piano, Violin, and Natural Horn [Waldhorn] (or Cello or Viola) in E-flat Major, Op. 40 Andante Scherzo: Allegro Adagio mesto Finale: Allegro con brio Trio for Piano, Clarinet (or Viola), and Cello in A Minor, Op. 114 Allegro Adagio Andante grazioso Allegro

C major-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 of Beethoven?sTriple 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

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