It was in 1842, his ‘year of chamber music’ that Robert Schumanntook on the combination of violin, cello and piano for the first time. He seems to have decided against releasing the resulting
Fantasiestückeas a fully-fledged piano trio, however, but later returned to the work, revising it for publication. The model here is not the large-scale, quasi-symphonic trios of Beethoven or
Schubert –instead Haydn’s characteristic trio textures spring to mind, especially in the first two movements where the cello largely follows the piano’s left-hand bass line.
By the time the Fantasiestückewas published in 1850, Schumann had already written two ‘proper’ piano trios, No. 1 in D minorand No. 2 in F major. According to the composer the second of these ‘makes a friendlier and more immediate impression’ but it is in fact the D minor trio that has long been the more popular: passionate, mainly extrovert and bursting with fine thematic material it is the easiest to grasp on one hearing. Both works are filled to capacity with imitative writing, sometimes conspicuously so but often subtly as if on a subconscious level –an aspect that the members of the KungsbackaPiano Trio, with more than 20 years of playing together, are able to make the most of.
Robert Schumann (1810—56)
1—4 ) Piano Trio No. 1 in D minor, Op. 63 30'54
5—8 ) Fantasiestücke, Op. 88 18'10
9—12 ) Piano Trio No. 2 in F major, Op. 80 26'11
Kungsbacka Piano Trio Malin Broman violin · Jesper Svedberg cello Simon Crawford-Phillips piano