Albums

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Trio´s - Verschenen op 18 januari 2019 | Masterworks

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Trio´s - Verschenen op 16 november 2018 | NoMadMusic

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica
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Trio´s - Verschenen op 10 september 2018 | Channel Classics Records

Hi-Res Booklet
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Trio´s - Verschenen op 10 september 2018 | Channel Classics Records

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Trio´s - Verschenen op 20 juli 2018 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 étoiles de Classica
With this new series entitled ‘Salon de musique’, Alpha presents recordings made by artists who have enlivened the Festival of Salon de Provence for some years now: the pianist Eric le Sage, who has made many recordings for Alpha, the clarinettist Paul Meyer etc… with cellist Claudio Bohórquez, they have now put two Beethoven trios on disc. By 1798, the year Ludwig van Beethoven composed his Trio for piano, clarinet and cello op.11, he was already well-known in Vienna as a remarkable improviser and an ambitious young composer. the piece was clearly aimed at the enlightened aristocracy, as well as competent musical amateurs. This did not prevent the critics, though universally positive, from judging the score to be over-complex in places. Dedicated to the Empress Marie-Theresa of Austria, the Septet was published in 1802 by Hofmeister, and on being well-received it was then rearranged for various combinations. Beethoven himself made a version for clarinet, cello and piano, op.38 in E Flat major – the one recorded here. © Alpha Classics
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Trio´s - Verschenen op 4 mei 2018 | Orchid Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Trio´s - Verschenen op 1 december 2017 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica
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Trio´s - Verschenen op 17 november 2017 | Myrios Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - 5 Sterne Fono Forum Klassik
An unusual and yet particularly clever juxtaposition can be found on this album, which consists in mirroring Schumann’s 1853 Märchenerzählungen (Tales, implicitly for children) for viola, clarinet and piano – as well as, still in the realm of fairy tales, Fantasiestücke (Fantasy Pieces) for clarinet and piano and then Märchenbilder (Fairy Tale Pictures) for viola and piano – and Jörg Widmann’s Es war einmal... Fünf Stücke im Märchenton (Once Upon a Time – Five Pieces in a Fairy Tale Tone). While being a contemporary, even a modernist artist, Widmann was indeed largely inspired by Schumann’s Märchenerzählungen, his work sprinkling with reminiscences, allusions and barely disguised quotes, superimposed to today’s language – so much that, at some point, one could be led to believe both tracks were playing at the same time, Schumann’s and Widmann’s! Ever since the first great creators, the art of “recycling”, reusing and rewriting is one of the main driving forces behind artistic creation; in fact Widmann is only following this proven model. Tabea Zimmermann on viola, Dénes Várjon on piano and on clarinet, no other than the composer himself: Widmann of course, not Schumann who, as everyone knows, doesn’t play the clarinet. © SM/Qobuz
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Trio´s - Verschenen op 29 september 2017 | Berlin Classics

Hi-Res Booklet
Johannes Brahms’s Horn Trio Op. 40 is without a doubt the best-known work for this formation and also one of the best-known chamber music pieces ever written for horn. Brahms succeeds like virtually no other composer in utilising the tone colours of this instrument. His trio has entrenched this formation in the stock repertoire of any horn player. It is therefore the centrepiece of this release. But what other works were written for horn trio, and was Brahms the first composer to write for this combination of instruments? What Felix Klieser and his friends have found is a repertoire spanning some 100 years, from Frédéric Duvernoy, who wrote his two trios at the start of the 19th century and was still under the influence of Viennese Classicism, to trios by Charles Koechlin (1867-1950) and Robert Kahn, written in the 20th century but still profoundly Romantic in their expression. That being said, Charles Koechlin, Frédéric Duvernoy and Robert Kahn chart intriguing musical terrain, presenting a variety of influences, forms and aspects of interplay between the three instruments. Each of Koechlin’s Quatre petites pièces Op. 32, written by Charles Koechlin between 1896 and 1906, has a distinctive underlying character. The limited compositional œuvre of Frédéric Duvernoy (1765-1838) immediately suggests that the Frenchman, who worked as a horn player at the Paris Opera and as a soloist , wrote music for his own use, notably horn concertos and works for horn and piano, but also three trios for violin, horn and piano, which were written as Trois trios concertants some time after 1820. These pieces are virtuosic, classically elegant and song-like. Serenade op. 73 by Robert Kahn (1865-1951), published in 1923, was clearly inspired by Schumann and even more so by Brahms.
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Trio´s - Verschenen op 15 september 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte
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Trio´s - Verschenen op 1 september 2017 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
There is a world of difference between Hindemith’s First Trio, composed in 1924 “on a train” as the composer stated in his own catalogue, and his 1933 Second Trio. While the first features some of these relentless, almost Prokofievian, rhythmic and thematic elements, the second rolls out its extremely sophisticated contrapuntal language along a soft lyrical canvas (with a touch of humour here and there) specific to later Hindemith. There is also a world of difference between Hindemith’s Trios and Schoenberg’s, written in 1946, soon after the composer almost died from a heart attack. Granted, the thematic structure is based on a dodecaphonic series, but after a brief adjustment period, it becomes impossible not to notice countless tiny tonal, harmonic waves skilfully hidden below the overall texture. The composer was quoted saying this particular work was “a description of his illness”, most probably with a fair share of dark humour. Thomas Mann claimed that Schoenberg told him he had secretly represented his medical treatment, the nurse and everything else in his music. Hanns Eisler, for his part, thought he had discovered which chords represented the injections… Ouch! Typically Schoenberg. Trio Zimmermann is made up of three great international soloists: violinist Frank Peter Zimmermann, violist Antoine Tamestit and cellist Christian Poltéra. And all three play on Stradivariuses, no less! © SM/Qobuz
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Trio´s - Verschenen op 21 juli 2017 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
Alongside Milhaud’s impressive corpus of eighteen string quartets, the two string trios seem no more than occasional pleasure pieces. But even they are an authentic expression of his style, oscillating between rigour and playfulness. His Mediterranean heritage and character, however, did not close Milhaud’s mind to other, entirely different, influences; from South American folklore to North American jazz through to German music – yes, indeed! even though rejecting German music was, even before WWII, a cultural policy of the French avant-garde – German music, which manifested itself in his fondness for Bachian counterpoint. The String Trio from 1947 puts many facets of Milhaud in a nutshell : simutaneous tonalities, strict counterpoint to the brink of atonality, boisterous moments of near-popular style... The rather jolly Sonatine à trois was a memento of a journey that Milhaud made through the USA together with his wife and son. Milhaud’s path crossed several times with that of his contemporary Bohuslav Martinů, who for seventeen years lived in Paris in rather mediocre conditions, while Milhaud celebrated his greatest successes during the years between the wars; in 1940 both of them were forced to leave France for the USA, where they lived for several years. Whilst Milhaud only discovered the string trio genre in the USA, Martinů wrote his two trios while still in Paris studying with his teacher Albert Roussel. From Roussel, Martinů learned perfect formal proportions, rhythmic concision and a vivid, but not sentimental, sense of colour; his First String Trio of 1924, after but a few performances, was lost and then rediscovered in 2005 in Copenhagen. Martinů’s Second Trio of 1934, a compact and energetic work, was spared such a fate and soon became a favourite with chamber musicians. © SM/Qobuz
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Trio´s - Verschenen op 13 juni 2017 | Melodiya

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Trio´s - Verschenen op 7 april 2017 | Channel Classics Records

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Trio´s - Verschenen op 15 maart 2017 | Arion

Hi-Res Booklet
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Trio´s - Verschenen op 27 januari 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Le Choix de France Musique
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Trio´s - Verschenen op 23 september 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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Trio´s - Verschenen op 7 juni 2016 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
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Trio´s - Verschenen op 1 april 2016 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica
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Trio´s - Verschenen op 4 maart 2016 | Naxos

Booklet Onderscheidingen 5 de Diapason