Trio Origo - Clarinet Trios: Gyrowetz, Volckmar, Ries (2025) [Hi-Res]

Tracklist

01. Trio for Clarinet, Cello and Fortepiano, Op. 43 in E-Flat Major: I Allegro Moderato
02. Trio for Clarinet, Cello and Fortepiano, Op. 43 in E-Flat Major: II Andante
03. Trio for Clarinet, Cello and Fortepiano, Op. 43 in E-Flat Major: III Allegretto
04. Trio for Clarinet, Cello and Fortepiano in B-Flat Major: I Andante Con Moto - Allegro Poco Vivace
05. Trio for Clarinet, Cello and Fortepiano in B-Flat Major: II Poco Adagio
06. Trio for Clarinet, Cello and Fortepiano in B-Flat Major: III Finale. Allegretto
07. Trio for Clarinet, Cello and Fortepiano, Op. 28 in B-Flat Major: I Allegro
08. Trio for Clarinet, Cello and Fortepiano, Op. 28 in B-Flat Major: II Scherzo. Allegro Vivace
09. Trio for Clarinet, Cello and Fortepiano, Op. 28 in B-Flat Major: III Adagio
10. Trio for Clarinet, Cello and Fortepiano, Op. 28 in B-Flat Major: IV Rondo. Allegro Ma Non Troppo

The history of large-scale works for clarinet, cello and piano began with the two trios composed by Ludwig van Beethoven in 1797 and 1803. Soon after Beethoven’s trios were published, several of his contemporaries were also inspired to compose trios for these instruments.
Adalbert Gyrowetz (1763–1850), a prolific Bohemian composer active in Vienna, wrote chamber music that aligned with the elegant, balanced style of the Classical period. His clarinet trios often follow the model popularized by Beethoven and others: clarinet, cello, and piano. They highlight the clarinet’s lyrical qualities while maintaining a conversational equality among the three instruments. Gyrowetz’s music tends to favor charm and clarity over dramatic intensity, providing insight into the salon culture of early nineteenth-century Vienna.
Johann Heinrich Volckmar (1770–1840), though less widely remembered, contributed to the clarinet trio genre with works that blend Classical formality with touches of early Romantic color. His trios display a clear sense of melody, often assigning the clarinet bright, song-like lines while the piano provides both harmonic support and moments of virtuosity. Volckmar’s writing exemplifies how regional composers outside the central canon engaged with the clarinet’s expressive potential, even if their works remained on the periphery of mainstream concert life.
Ferdinand Ries (1784–1838), a student and close associate of Beethoven, represents a later stage in the trio tradition. His clarinet trios show a more Romantic sensibility, with broader structures, heightened contrasts, and more demanding instrumental writing. Ries imbues his works with dramatic flair and lyrical warmth, reflecting both Beethoven’s influence and his own individual voice. Together, the trios of Gyrowetz, Volckmar, and Ries trace the clarinet’s evolution from Classical elegance to Romantic expressivity within the chamber music setting.
Played on period instruments by the Trio Origo. Trio Origo was formed for a performance of Beethoven’s Trio Op.11 in 2004 when its members were students of the Sibelius Academy. The trio has since then focused on performing Classical and Romantic works on period instruments. Trio Origo’s recording of two trios by Beethoven was released in 2020 on Brilliant Classics (BC, 96215).

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