Carl Philipp Emanuel Bach
accompanied sonata in a, Wq 90/
accompanied sonata in G, Wq 90/2
triosonata in D, Wq 151
triosonata in G, Wq 157
triosonate in Bb, Wq 159
triosonate in c, Wq 161/1
triosonata in Bb, Wq 161/2
trio in F, Hob. XV:6
trio in D, Hob. XV:24
trio in G, Hob. XVI:25
trio in f#, Hob. XVI:26
trio in E, Hob. XVI: 28
trio in Eb, Hob. XVI: 29
trio in A, Hob XV:35
transcription for trio by Johann Peter Salomon
Johann Christian Bach
sonata in C, op. 15 nr. 1
sonata in A, op. 15 nr. 2
trio in Es, op. 6 nr. 1
trio in Bb, op. 16 nr. 1
trio in F, op. 16 nr. 4
trio in C, op. 12 nr. 1
trio in D, op. 12 nr. 4
trio in Bes, op. 12 nr. 5
Wolfgang Amadeus Mozart
divertimento in Bes, KV 254
trio in G, KV 496
trio in Bb, KV 502
trio in E, KV 542
quartet in g, KV 478
quartet in Es, KV 493
accompanied sonata in C, op. 47
Ludwig van Beethoven
trio in Es, op. 1 nr. 1
trio in G, op. 1 nr. 2
trio in c, op. 1 nr. 3
second symphony, op. 36, transcrition by Beethoven for trio
variations in Eb, op. 44
Scottish and Irish Songs for Voice and fortepiano trio, op. 108 en WoO 156
Johann Nepomuk Hummel
trio in Eb, op. 12
trio in G, op. 65
trio in g, op. 3 nr. 3
trio D. 897 – op. Post. 148 ‘Notturno’
trio in d, op. 49
Ludwig van Beethoven wrote many compositions based on folk songs. The Scottish and Irish songs for soprano and piano trio surely are amongst the finest.
These vocal little treasures come with variations written by Beethoven on ‘Se vuol ballare’ by Mozart and one of Mozart’s most outstanding piano trios.
The Sorcerer’s apprentice
Joseph Haydn – Ludwig van Beethoven
One of the last trios Haydn wrote in 1794 is reflected in ‘opus 1 number 1’ which Beethoven wrote the same year. An impressive piece from the mature artist confronts the more than convincing masterwork by his apprentice.
Origins of Trio
The trio sonata, the violin sonata, the accompanied piano sonata, … Out of this fertile soil the piano trio is born: an alliance between two emancipated string players and an eloquent keyboard.
In the older genres, the musical material isn’t equally distributed under the instruments. However, what a wealth of music and how very refreshing to hear a genre come into life through this beautiful music!
Music by Boccherini, CPE Bach, Haydn and Mozart.
The young Beethoven
Opus 1 and opus 2 are no ‘juvenilia’. The young Beethoven is passionate about sharing different kinds of musical emotions with his public.
Two hundred years later, Inedito uses the instruments that were constructed particularly for this music in order to make this colourful music shine the way it was meant to be.
Beethoven – Haydn – Hummel
This program brings together three writings that taste like romanticism, even though the composers lived in the classical period.
The tension between the solicitude for a balanced form and the need to express individual emotion creates a unique musical experience.
Hummel – Schubert – Mendelssohn
Hummel’s music bridges the classical and romantic period. His trios sing liberally, but reserve a scent of elegancy and freshness.
Schubert thought of Hummel as being very Mozartesque, but he too, as well as Mendelssohn, is tributary to the Viennese classics.
A program with early romantic music that contains the charm and restraint of classicism.
Reading concert with Werner Trio, narrator
In 1795, the 25-year-old Beethoven introduced his official opus 1. He chose for the genre of the piano trio.
Inedito recreates this historical debut in a reading concert.
Prince Lichnowsky cordially invites you into his parlour and vigorously leads you towards his protégé’s impressive masterwork.
Mozart piano concerti
Mozart’s piano concerti are the greatest hits of classical music. There’s not always need for a big orchestra , whereas for several concerti, Mozart wrote an alternative version for piano and string quartet.
We will love to display this master remix!
Mozart piano quartets
Violin, viola, cello and fortepiano: an unusual combination in the 18th century. With two compositions, Mozart raises the bar quite high for the piano quartet repertory.
Lend me your ears (working title)
Music and dance often come together.
Generally the music constitutes an accompaniment for the dance; music serves, supports and helps us to see and understand the movements.
But what if we turn this around? What if dance accompanied the music? What if the movements were there to understand the music better and to help the public to listen?
That is the challenge for this program, created by Inedito in collaboration with dancer Mark Lorimer (known from ROSAS).
The music goes from well known (Mozart), over hardly played (Boccherini) to regrettably forgotten (Onslow). On the limited surface of the stage, the dance introduces an atmosphere that allows us to listen more intensively.