Trio No. 2 in A minor, Op. 34 Cover Image

Trio No. 2 in A minor, Op. 34: Conductor Score & Parts

$19.95 USD
$19.95 USD
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Trio No. 2 in A minor, Op. 34 Cover Image
Trio No. 2 in A minor, Op. 34: Conductor Score & Parts

Trio No. 2 in A minor, Op. 34: Conductor Score & Parts

By Cecile Chaminade

Item: 36-M360591
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Description
A reprint edition of this important piano work by the turn-of-the-century French composer, Cécile Chaminade (1857-1944). Affiliating herself with nationalist composers such as Saint-Saëns and Gounod, her style was very much rooted in both Romantic and French tradition, her tuneful and highly accessible works were also tremendous favorites in the United States. This three-movement piano trio dates from 1887. The opening bars serve notice that this is a work which will scale might heights, deserving to be heard in concert.

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Additional Details
Series: Master Chamber Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-887646-0
ISBN13: 978-1-63-887646-5
UPC: 660355030468
SKU: 36-M360591
Instrumentation: Violin, Violoncello and Piano

More about this title

About the Composer: Cecile Chaminade

Cécile Chaminade (1857-1944) was a prolific French composer who commanded respect across Europe and America during her lifetime, yet her reputation faded considerably after her death. She composed in nearly every form except opera and large-scale symphonic works, with particular success in chamber music, songs, and solo piano pieces. Her compositional voice aligned with the nationalist movement of late 19th-century France, drawing inspiration from Romantic ideals while maintaining the clarity and elegance characteristic of the French tradition.

Chaminade's music found eager audiences in American concert halls and parlors, where her tuneful, approachable style made her one of the most performed living composers of her era. She understood the demands of performers and audiences alike, crafting works that balance technical substance with accessibility. Her chamber works, including this piano trio, reveal a composer fully in command of form and instrumentation, capable of writing passages of genuine depth alongside the lyrical themes that made her name.

Why we love this

This trio carries real musical weight without relying on display or bombast. The opening gestures promise something substantial, and Chaminade delivers across all three movements with writing that respects the capabilities and voices of each instrument. Audiences respond immediately to the tuneful, well-proportioned structure, while players find genuine satisfaction in the chamber dialogue and the opportunities for expressive playing.

What to expect

The opening announces nobility and purpose, establishing an expressive, introspective character grounded in the Romantic tradition. The writing flows with natural elegance, moving between moments of lyrical warmth and passages of greater dramatic intensity, always maintaining a distinctly French sensibility that values clarity and refinement over overwrought sentiment.

Who it's for

This trio suits advanced chamber ensembles ready for substantial Romantic-era repertoire. String students who have developed solid intonation and ensemble awareness paired with an accomplished pianist will find the work both rewarding and manageable at a serious amateur or early professional level.

How to get the most out of it

  • Balance the piano part carefully in the opening measures; it establishes harmonic and rhythmic foundation without dominating the string voices.
  • Attend to the phrasing across measure lines rather than stopping at barlines, especially in lyrical passages where Chaminade's melodies benefit from long, singing lines.
  • Listen actively between parts during tutti sections to maintain ensemble cohesion; the violin and cello often move in complementary rhythms that need precise coordination.

How to use it

This work fits beautifully on a chamber music recital alongside other mid-to-late Romantic repertoire, or as part of a program exploring women composers of the 19th century. Its three-movement structure and substantial musical content make it suitable as the centerpiece of a shorter concert or as a major work within a larger chamber series.

Skills your students will build

  • Sustaining long, singing lines across phrases and barlines
  • Coordinating string and piano voices in Romantic-era ensemble textures
  • Responding to rubato and expressive flexibility within structured harmonic progression
  • Balancing individual voice projection with ensemble unity in a three-part texture

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