About This Companion
An independent editorial resource devoted to the piano-trio repertoire — the music written for piano, violin and cello, treated as history and craft.
The Piano Trio is a reader's companion to one of the richest bodies of music in the Western tradition. It exists to explain, in plain language and in an editorial register, why the works written for piano, violin and cello have held their place for more than two centuries — from the Classical origins of the form through its Romantic golden age to the present day. The subject is the music itself: public-domain works by composers long dead, read afresh for today's listeners and players.
What this site is
Everything here is editorial and educational. The essays draw on the standard literature of music history and on freely available public-domain scores; where a fact matters, the pages link to reputable references such as the Encyclopædia Britannica and the International Music Score Library Project. The site sells nothing and represents no performer. Its aim is simply to make a great repertoire more legible and to send readers back to the works with sharper ears.
A note on this domain
The address mendelssohnpianotrio.com was formerly the home of a professional chamber ensemble that performed under the name "Mendelssohn Piano Trio." This website is not that ensemble, is not affiliated with it or with any of its members, past or present, and does not represent, book, or speak for any performing group. The domain now hosts this independent editorial companion, whose true namesake is Felix Mendelssohn's own piano trios — the D minor, Op. 49, and the C minor, Op. 66 — cornerstones of the repertoire and public-domain works of a composer who died in 1847. Any reference on these pages to specific ensembles, performers or recordings is made in a factual, editorial spirit only.
Sources and method
The essays here are written from the standard literature of music history and checked against reputable references and public-domain scores. They aim for accuracy over novelty and for clarity over jargon; where dates, opus numbers or attributions are disputed, the pages try to say so. This is a reader's companion, not a scholarly edition — but errors are still errors, and the aim is to have none.
Get in touch
Comments and corrections from fellow enthusiasts are welcome. This is a labour of love for the chamber repertoire, and accuracy matters; if a reader spots an error in one of the essays, a note through the form below is appreciated.
This form is provided for correspondence about the editorial content of the site.