Piano trio


solo
8323 Dieter Ammann: Après le silence (2005) 18'
for violin, violoncello and piano
sFr. 34.00
The title refers, on the one hand, to the long phase of silence (as an inner absence of music), which preceded the piece, and on the other hand the necessity for one, following this silence, to make oneself completely understood. The large range of expressive means is a result of this necessity for complete expression. The work fathoms then, a multitude of conflicting areas: here it goes from sound alteration to noise as the result of inner endeavours, there a huge instrumental gesture, the outwardly directed virtuosity. Moments of static from "frozen" textures are relieved by moments of kinetic density, which (paradoxically) can return again to stagnation. The associative exploration (exploration as a circumlocution of the working method, not the resulting sounds) is sometimes penetrated by sound gestures, which are not, in a logical sense, inherently part of the system but are created in the respective moment of the work process, from an inner (thus subjective) necessity - they have, as a result, a purely "psychological function". The compositional challenge, to construct the unexpected as paradigm without this producing an (expected?) abrasion, is for the piano trio programme. The rapid scales deceive, the pulses are fragile, ostinato lead to nowhere, the seemingly target-orientated become volatilised; no state is definitive. Many moments subsume that which came previous and simultaneously refer to that which is to follow, the music gives birth to and is itself permanently reborn. The work is held together more through the atmospherical density and a conjunctive (sound) sensualism than through the structures material relationships (e.g. regarding pitch). All this occurs in a concentrated from and a tight time dimension.

Listen: Youtube
0246 Walter Baer: A travers les arbres (2001) 14'30
Trio
for violin, violoncello and piano
sFr. 36.00
(Spielpartituren)
0505 Nicolas Bolens: Trois Tableaux (1994) 16'
for violin, violoncello and piano
sFr. 36.00
Each of the three acts presents a different combination of the three instruments. The first act is metrically notated and is to be played in very strict time. In the second act, the string parts are metrically independent of the piano. In the third act, all instruments play independently of each other; metrically notated, the violin acts as leader, and the others follow. Traditional playing techniques and occasional use of quarter-tones.

8514 Thüring Bräm: 4 Stücke aus Krajiny Snu ("Traumlandschaften") (1992) 7'
for piano trio
sFr. 18.00
The ‘Traumlandschaften’ for piano trio is in four short movements and corresponds approximately to the solo parts of the same concert for piano trio and chamber orchestra.

1017 Jean-Jacques Dünki: Figures (1997) 7'
for hammerclavier, violin, violoncello (old mensural notation)
sFr. 26.00
Three concentrated movements for ‘old’ instruments.

1109 Jürg Frey: Klaviertrio (piano trio) (1989) 7'
sFr. 13.00
Almost exclusively homophonic and tranquil throughout.

1409 Eric Gaudibert: Songes, bruissements (1990) 16'30
for violin, violoncello and piano
sFr. 36.00
Traditionally written piece with the exception of certain passages. The three instruments run their courses more or less independently of each other. Ensemble writing is metrical and performance techniques standard. The cello often plays in extremely high register, and a metal damper is used on the violin.

1508 Eliane Frances George: Passionis (1992) 3'35
for trio with piano
sFr. 31.00
(Parties en vente chez EMS)
Less a prayer than an invocation, 'Passionis' surpasses its Gregorian origin to effect a religious experience, touching on the God in us all.

9039 Edu Haubensak: Klaviertrio (in Skordatur) (piano trio in scordatura) (1999/00) 15'
sFr. 36.00
Listen: Youtube
9233 Michel Hostettler: Vires (1998) 8'
for piano, violin and violoncello
sFr. 26.00
(Parties en vente chez EMS: sFr. 16.-; € 16.-)
26132 Max E. Keller: Trio fluido (2009) 7'
for violin, violoncello and piano
sFr. 21.00
Here we have three different elements that flow (a word used in its broadest sense): sustained sounds, wide-reaching melodies and an often repeated phrase from Swiss folk music. These elements are not only varied extensively, but also superimposed. Every so often, short and sometimes very strong opposing figures appear, occasionally cristalising out of the flow. Such opposing figures also form the finish, which leads into another world.

2847 Alfred Knüsel: Co Order (2002) 11'
for violin, violoncello and piano
sFr. 34.00
(Stimmen leihweise auf Anfrage)
I. Analog Dialog II. Transfers III. Nach Kategorien ähnliche Motive gesammelt IV. Luftige Szenerie

9734 Hans-Jürg Meier: la soglia sotto il soglio (2004/05) 10'30
for violin, violoncello and piano
sFr. 26.00
"This piece is based on a structure derived from the structure of the village of Soglio in Bergell. Meier succeeded in building an organic, undramatic yet increasingly enthralling form of attractive sonority - a poetic sound room." (Alfred Zimmerlin)

9814 Laurent Mettraux: Trio n. 2, M. 520 (1995/96) 17'
for violin, violoncello and piano
sFr. 47.00
(Parties séparées: sFr. 48.-; € 48.-)
A tragic work with tense climates, sometimes mysterious in a terrifying sense, with a scherzo furioso and a calmer end.

3810 Thomas David Müller: Klaviertrio (1991/92) ad lib.
sFr. 52.00
The first movement (‘Simultan’) takes various forms of time articulation and ensemble playing as its theme (duration ad Lib.). The second movement (‘Treffen in Prag’) poses the question: Is singing possible? (approx. duration 15'). Third movement (‘Gehen’) looks at the problem of playing together in time (duration ad Lib.). The first and second movements can be played independently, the third movement only together with the first.

10212 Michael Schneider: touch(e)! (1996) 10'
for piano trio
sFr. 26.00
Sharp piano accents and floating string glissandi combine to form an expressive gestus. Dramatic and lyrical moments with an epitaph as coda.

5207 Balz Trümpy: Fliessend (1979) 10'
Piano trio
sFr. 29.00
(Stimmen bei SME: Fr. 14.-)
The title is on the one hand an indication of how to play, and on the other a reference to the compositional approach with regard to the flow of time.

5272 Balz Trümpy: Trio (2009) 15'
for violin, violoncello and piano
sFr. 60.00
In meinem 2. Klaviertrio behandle ich das Ensemble im klassischen Sinne. Das einsätzige Stück verbindet mehrere stimmungsmässig unterschiedliche Teile miteinander.

10711 De-Qing Wen: The trill of steppe (1997) 10'
for violin, cello and piano
sFr. 29.00
This piece is inspired by traditional Mongolian music. The trill is considered as a theme. The musical material is organised as a set of six digits and their various combinations (sixtines).

10821 Martin Wendel: Trio für Violine, Violoncello und Klavier, op. 60 (trio for violin, violoncello and piano, op. 60) (1993) 14'
sFr. 34.00
The duality of this piano trio is reminiscent of the formal type 'introduction and main theme'. It deals, however, with two absolutely equal and approximately similar format part pieces of a whole.

17612 Stefan Werren: Image visionaire (1998) 10'
for piano trio
sFr. 29.00

Piano trio with instruments
8533 Thüring Bräm: Piccoli Stagioni (1997) 7'
for piano trio, flute and voice
sFr. 31.00
Texts: Anna Maria Bacher Four-seasons poems by the poet Anna Maria Bacher from Pomatt in the Italian version; short, transparent pieces.

6760 Hans Eugen Frischknecht: Quintett (quintet) (1999) 16'
for flute, clarinet, violin, violoncello and piano
sFr. 39.00
A multi-part composition with contrasting parts.

9334 Vladislav Jaros: Ungarische Rhapsodie (2006) 12'
for flute (or violin), bassoon (or bass clarinet or violin) and piano (or harp)
sFr. 36.00
A varied music full of life with an Hungarian rhythm. Instrumentation: 1 - fl.bn.hp 2 - fl.bn.pf 3 - fl.bcl.pf 4 - v.vc.pf

9503 Louisa Lasdun: There and Back Again (1993) 34'
for piano trio, counter tenor, girl's voice (should sound like a 12-16 year-old)
sFr. 60.00
Text: James Lasdun This work (inspired by Paula Regos’ etchings based on English nursery rhymes) was originally conceived as a dance piece, but can also be performed as a concert piece. The text by James Lasdun was adapted from traditional children’s rhymes. There are four movements: Dramatis Personae - Questions - Requiem for Cock Robin and Journey Dance. This piece received an award at the ‘Ballet Gulbenkian’, Lisbon in November 1998.

3441 Thomas K. J. Mejer: Einmal ich und du: Die Bombe im Herzen (1995/99/2005) 10'
Cycle of "songs" after poems by Ludwig Fels
for flute (afl, pic), clarinet (bcl) and piano trio
sFr. 52.00
N° 1: Elegische Ballade N° 5: Sterbenswort N° 10: Sexuelle Panik


Piano trio with orchestra
8522 Thüring Bräm: Krajiny Snu (1992) 17'
for piano trio, chamber orchestra (2.2.2.2/2.2.0.0/str) and one crotale
sFr. 55.00
The title 'Krajiny Snu' means 'dreamlandscape' and represents shreds of the composer's associations with his work as a conductor from 1985 to 1995 in Pardubice. This work, originally dedicated to the 'Guarnieri Trio', Prague and the Pardubice Chamber Phillharmonic, enriches the concert for piano and orchestra genre.


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automatically generated. last update: 28.08.2015 / 2004 Theo Lustenberger