Schubert: Trios Op. 99 & Op. 100 Denis Pascal, Aurélien Pascal, Alexandre Pascal

• Franz Schubert (1797 - 1828): Trio en Si-Bémol Majeur pour piano et cordes No. 1, Op. 99, D. 898:
• 1 Trio en Si-Bémol Majeur pour piano et cordes No. 1, Op. 99, D. 898: I. Allegro moderato 15:09
• 2 Trio en Si-Bémol Majeur pour piano et cordes No. 1, Op. 99, D. 898: II. Andante un poco mosso 08:48
• 3 Trio en Si-Bémol Majeur pour piano et cordes No. 1, Op. 99, D. 898: III. Scherzo. Allegro 06:18
• 4 Trio en Si-Bémol Majeur pour piano et cordes No. 1, Op. 99, D. 898: IV. Rondo. Allegro vivace 08:38
• Trio en Mi-Bémol Majeur pour piano et cordes No. 2, Op. 100, D. 929:
• 5 Trio en Mi-Bémol Majeur pour piano et cordes No. 2, Op. 100, D. 929: I. Allegro moderato 15:33
• 6 Trio en Mi-Bémol Majeur pour piano et cordes No. 2, Op. 100, D. 929: II. Andante con moto 09:23
• 7 Trio en Mi-Bémol Majeur pour piano et cordes No. 2, Op. 100, D. 929: III. Scherzando. Allegro moderato, IV. Trio 06:00
• 8 Trio en Mi-Bémol Majeur pour piano et cordes No. 2, Op. 100, D. 929: Allegro moderato 13:40
• Total Runtime 01:23:29

Info for Schubert: Trios Op. 99 & Op. 100

As with many episodes in Franz Schubert’s life, uncertainty surrounds the origins of his two trios for piano, violin and cello. We know that they were played to a Viennese audience, one on 26 December 1827 and the other on 26 March 1828, but not in which order. Although it is more likely that the Trio no. 1 in B flat major op. 99 was performed before the Trio no. 2 in E flat major op. 100, musicologists remain divided on the subject. Documentary sources provide a certain amount of information about the Trio op. 100: the manuscript tells us it was composed in November 1827, while Schubert’s correspondence shows a composer desperate to have his work published, even to the extent of removing a number of development sections and a repeat from the final movement because some publishers found the work too long. The manuscript of the first trio has been lost. By comparing indirect evidence, however, including the different types of manuscript paper Schubert used, we may conjecture that the Trio op. 99 was also composed in the autumn of 1827

The community of musicians may be a harmonious one, open and tolerant, but it is rare to find the members of the same family in it, by which I mean people who have grown up with each other, in the wider, deeper meaning of the term, and can express themselves fully with those who have been part of their childhood.

Paths cross and overlap, mesh and mingle in the miracle of time and shared experience. Time is abolished, or rather eternalised, within the privileged space of transmission. Proof of shared experience lies in the immanence of performance. The latter is not a given, for what is possible is not achievable simply: performing chamber music is a gamble. Genuine dialogue with a musical partner on stage has an element of the miraculous, which in turn sheds intense illumination on the audience who bear witness to that very special dimension, the result of the trust and freedom that the performers share with each other in the concert hall.

That trust is evident in a glance, a gesture, an inspiration, each of the parts remaining responsible for the other two.

To share unspoken intimacy and discover exceptional partners whom you have known for ever is an immense privilege. That communion binds time and space together in an experience which surpasses us in the same way as the radiance of music and the luminous, continually renewed miracle of Schubert’s two trios.

Denis Pascal, piano
Alexandre Pascal, violin
Aurélien Pascal, celleo

No biography found.

Booklet for Schubert: Trios Op. 99 & Op. 100