My Favourite Unsung Piano Trio

[Peter1953]

If you like the genre, there's so much choice.

My number one is Gernsheim's Piano Trio No. 2 in B major, op. 37 (Arensky Trio on Antes). Right from the start there is a flow of gorgeous, memorable melodies. The second movement is based upon a very sparkling theme. The slow movement presents a heartfelt, beautiful lento. I love this serene movement very much. How silent music can be, and at the same time so deeply felt. The final movement is a stunning allegro, full of energy.
This Piano Trio is Gernsheim at his best. A work all of its own.

What is your favourite, and why?

[John H White]

 If piano trios where the customary cello is substituted by a viola are allowed my favourite would be the first of Ignaz Lachner's 6 works for that combination. Mind you, all six are well worth hearing, being full of beautiful melodies. The complete set are still available on a pair of Claves CDs and the sheet music can be obtained from Merton Music. I've transcribed two of them into Noteworthy software and they can be viewed and heard at the Noteworthy Scriptorium web site.
     If we need to stick rigidly to  the "orthodox" line up of violin, cello & piano, then I'd go for Spohr's No 5 in G minor ( which I've also put on the Noteworthy Scriptorium), but I agree that Gernsheim's No 2 is also a lovely work.

[Mark Thomas]

Raff's Nos.1-3 in equal measure top the list for me (as you might expect), but the Dietrich Piano Trios are almost as satisfying. The Gernsheim works are delightful too, to be sure.

Why the Raffs? Well, I think it is the unquenchable flow of melody, coupled with the extreme inventiveness which Raff displays in varying the texture of the music. Of course there is also his playful use of counterpoint and, especially in the Third, quite a number of unexpected harmonic diversions along the way. Each features a fizzing Scherzo, a meltingly regret-tinged lyrical slow movement and, by no means usual for Raff, an upbeat finale with substance which actually works.

[edurban]

My favorite unsung trio is the 3rd of Adolf Martin Forster, one of the Americans who went to Leipzig to study.  It's not without problems, but the soaring tunes carry it for me (think of the Rheinberger piano quartet).  I often find myself whistling them on the street.  Not recorded, but published and in Library of Congress.  If Forster had belonged to any other nationality, this piece would have been recorded long ago...

David 

[edurban]

Curses, Peter1953, this means I have to buy the Gernsheims!  I was leaning towards it, though, having fallen in love with his piano quartets and quintets...

David

[ScipioAfricanus]

have you guys heard the 2 piano trios by Robert Fuchs.

[Alan Howe]

Yep, the Fuchs trios are superb too. But then, Fuchs is very strong in all his chamber music. In fact anyone who likes the Gernsheim/Antes CD ought to lap up the recording of Fuchs' Op.22 and 72 on Quartz.

And don't forget the superb new Toccata CD of Jadassohn Piano Trios 1-3!

[Amphissa]

 
There are way too many to have to choose just one. My top choices among the Sungs would be:

Rachmaninoff D minor, op. 9 "Elegiac"
Tchaikovsky A minor, op. 50 "In Memory of a Great Artist"
Shostakovich No. 2 in E minor, op. 67

Among the Unsungs, for pieces not yet mentioned, I would add:

Foote (like them both)
Martucci C minor, op. 59

[eschiss1]

I hope to hear the Gernsheim, Fuchs and Jadassohn (I have MIDIs of one movement each of one of Fuchs' (#2) and Jadassohn's (#1) trios, and have a notion that I'll very much enjoy the rest. The first movement of Fuchs 2 is especially lovely and catchy, I think...)
Arensky's trios are only "semi-sung" (#2 is still unsung, really- I remember when I basically never heard it on the radio, and there seemed to be maybe one or two recordings of it available if that- neither of which I'd heard- rather a contrast to the situation for the admittedly much better #1) but #1 is a favorite of mine and deserves much more exposure still, I say.  Saint-Saëns' 2nd isn't exactly a household-name-of-trios either, but is really good stuff... As to un(der)sungs and sticking to - well, only a few -
(1) Joseph Rheinberger's piano trio no. 3 op. 121.  Lovely.
(2) Edmund Rubbra's piano trio in one movement (trio no. 1) op. 68. (a little outside the boundaries of this forum maybe- but then, comes to a firm close in D major and is pretty clearly tonal, passionate, serious, effective and again lovely- well, I think, but whose list is this? So hopefully no moreso than the Shostakovich example mentioned.)
(3) Arnold Bax's piano trio (no.2) in B-flat.
(4) Raff's trio no. 1.
Probably forgot something important, but those I know reasonably well give or take, and am happy to give as favorite unsungs...

[Gerontius]

The Villa Lobos Piano Trios No's 1-3 are fascinating.

[Kriton]

My favourite unsung piano trio would be the huge A minor trio by Gabriel Pierné. The weird but amazing instrumentation, the seriousness, and its proportions all make this one of the most impressive pieces of chamber music I know. It took me many hours of listening, and I have to place this trio on top of the list of unsung and sung piano trios - not counting Schubert's op.100, of course.

[JimL]

Just what do you mean by "weird but amazing instrumentation"?  Is it for piano, violin and cello or not?

[Kriton]

Just what do you mean by "weird but amazing instrumentation"?  Is it for piano, violin an cello or not?

It is for piano, violin & cello. With "instrumentation" I meant what is probably called "scoring" in English, I just realised.

[eschiss1]

Just what do you mean by "weird but amazing instrumentation"?  Is it for piano, violin an cello or not?

It is for piano, violin & cello. With "instrumentation" I meant what is probably called "scoring" in English, I just realised.

musically the concepts are sometimes the same word in English, as with "orchestration" for the instrumental lineup of a work, on the one hand, or the particular use made of the instruments to hand to convey the musical idea, on the other...
Eric

[Kriton]

Isn't there a (not so subtle) difference between scoring a work for (certain instruments) and scoring a work a certain way (i.e. originally, unidiomatically, etc.)? In my post, I certainly meant the latter, since I now think the former has the meaning of "instrumenting" - if that's even a word. Or am I wrong? Always a tricky business when it's not your mother tongue...