Like hardly any other genre, the piano trio is rooted in the bourgeois musical tradition of the 18th and 19th centuries; but, unlike the genre of the string quartet, it has not experienced radical reinterpretations in the 20th/21st century through “milestones” of the repertoire. The present trio does not strive for this goal either.

On the contrary, it was intended to pursue the chamber music tradition founded by composers such as Schubert, Dvořak and Brahms from the perspective of the present, in particular: to rehabilitate means of identity represented in the classical musical repertoire, such as pulsating rhythms, melodic phrasing and even tonal progressions, but at the same time to take up the achievements of contemporary stylistic techniques and thus (in a dialectical sense) to reconcile the opposites of “traditional” and “progressive” attitudes, which are so often perceived as contradictory. In this context, the interweaving of rhythmically synchronized passages with quasi-aleatoric sections of “free” interaction proves to be of particular importance.

The work consists of three seamlessly connected movements. A pulsating central section is surrounded by two slow episodes whose lyrical mood is repeatedly broken up by energetic eruptions.