String Trios a minor op. 77b and d minor op. 141b. Par REGER MAX. Les deux trios à cordes de Max Reger font partie, côté du « divertimento » en mi bémol majeur K. 563 de Mozart et des trio à cordes op. 9 de Beethoven, des oeuvres majeures du genre. Tant pour le style que pour l?ambition, Reger se réfère ici ces grands maîtres de la musique classique qu'il vénérait tant. Les deux trios portent l'empreinte du classique- ils plaisent de par leur caractère détendu, parfois même enjoué. Rien d?étonnant que leur création (1904 et 1915) ait remporté un tel succès. Michael Kube, spécialiste de Reger, a réalisé cette édition sur la base de l'autographe et de la première édition. En même temps que cette édition des parties instrumentales, Henle publiedans le cadre de la collection « Studien-Edition » (HN 9722) l'édition de la partition. ? / Partition brochée / Répertoire / Duo de Cordes et Trio de Cordes

Par SMETANA BEDRICH. Durée: 28', Format: ETP small/ Répertoire / Trio avec Piano

Trio in d minor op. 3-Alexander Zemlinsky is mainly known for his operas and orchestral songs with their opulent late Romantic orchestration. His earlier inspired hit the Trio For Clarinet Op. 3 written in 1896 owes agreat deal to Zemlinsky’s first important role model Johannes Brahms as far as inflection and instrumentation are concerned. It was also Brahms who following its first performance in Vienna enthusiastically recommendedthe trio to his publisher Simrock.As the autograph has disappeared Henle’s edition follows the musical text in the first edition. It underwent careful examination and was cleared of numerous partly blatant engraver’serrors. Alongside the Piano score Henle’s edition comprises a part for Clarinet in Bb/A and an authentic alternative part for Violin as well as a Cello part.

When Smetana composed his Piano trio in the autumn of 1855 it was an act of catharsis to recover from the death of his four-year-old daughter Friederike. This highly emotional work was also his first large-scale piece of chambermusic. Its first public performance in December 1855 was regrettably not a great success and so Smetana embarked on a protracted process of reworking it. By the late 1850s it had reached its current form. Smetana always liked toperform it but only found a publisher for it in 1880 when one of his pupils invited the Hamburg publisher Hugo Pohle to a performance at short notice. Smetana specialist Milan Posp Å¡il has based this Henle Urtext edition on thefirst edition by Pohle but has also drawn upon the earlier sources. This has enabled him to iron out numerous inconsistencies found in the first edition.