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

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.

Three selected Piano Trios for Violin Cello and Piano composed by Robert Schumann. Contains: Piano Trio in F Op.80 Piano Trio in D minor Op.63 and Piano Trio in G minor Op.110.