No reading or study, except to catch up on last lesson’s study of cello if needed.


Haydn, Piano Trio no. 39 in G, H. XV/25 (“Gypsy”),_Hob.XV:25_%27Gypsy%27_(Haydn,_Joseph)
The recording on the IMSLP page is serviceable, but unlovely in sound.
Recommended viewing:
Version by Emerald Trio is a bit better but very echoey.

Mozart, Piano Trio in G, K. 496
Stick with the Breitkopf edition for clarity.,_K.496_(Mozart,_Wolfgang_Amadeus)
The IMSLP recording by Musicians from Marlboro is nearly flawless.
Recommended viewing:
This version by Clara Trio gives one hope for the future of chamber music.

Beethoven, Piano Trio in B-flat, Op. 97
The Carl Herrmann version is the clearest read.,_Op.97_(Beethoven,_Ludwig_van)
Claremont Trio’s uploaded performance is also excellent.
Recommended viewing:
The ATOS Trio is powerful, yet more intimate than you might expect.

Schubert, Piano Trio in E-flat, Op. 100, D. 929
The Breitkopf edition is the best, without confusing scoring for higher cello notes.,_D.929_(Schubert,_Franz)
Claremont Trio knows their stuff, and shows it on their IMSLP upload.
Recommended viewing:
This sprightly version by NEC students is a little laid-back at times, but still very well-played.

Brahms, Piano Trio no. 3 in C minor, Op. 101
The second scan of the first edition of the Simrock is a little grainy, but good reading.,_Op.101_(Brahms,_Johannes)
Once again, Claremont Trio’s performance is very good, but see below.
Recommended viewing:
Orbis Trio tears the roof off with an incredibly passionate and committed reading.

Ravel, Piano Trio
Most scans of the Durand edition on the IMSLP are about the same quality – avoid the colour scan!,_Maurice)
I enjoyed Claremont Trio’s upload once again. Nicely done.
Recommended viewing:
Newbury Trio’s performance at the La Jolla Summerfest is great, though the camera work isn’t always focused in the right places during string effects that would be useful to see.


Score a work for piano trio of the following parameters:

  • 2:00-3:00 minutes total
  • compose in your own artistic voice and idiom
  • don’t overdo the technique; focus on relationships and scoring approaches
  • music should derive its form, energy, and direction from instrumental alliances
  • consider that this work could be expanded for an existing ensemble to perform