The period of this work's gestation probably divulged as much growth in Chopin's style as in any other. He had recently finished his Variations on La ci darem, for Piano and Orchestra (1827), and would soon embark upon writing his two piano concertos (1829-30). Other large works for piano and orchestra came from this period as well, including the Fantasia on Polish Airs (1828) and Krakowiak (1828). This trio, while it divulges a chamber-like intimacy in its scoring and overall atmosphere, also contains elements that place it on a grander musical canvas, making it closer in spirit to the larger works, than to the solo piano pieces. It is an especially significant effort, however, since after Chopin settled in Paris in 1831, he would write only two additional chamber works and nothing original for piano and orchestra.



Cast in four movements, it is the composer's most important chamber work after the Sonata for Cello and Piano, Op. 65 (1845-46). The first movement is marked Allegro con fuoco and begins with a dramatic dark introduction dominated by the piano. The violin introduces the main theme—a passionate, agitated melody of great beauty—which is then taken up by the piano. The writing for all instruments here and throughout the work is deftly-fashioned and quite imaginative. The second movement Scherzo (Con moto, ma non troppo) is light and attractive, with the presence of the piano strongly felt even when it serves in an accompanimental role.



The Adagio sostenuto third movement, offers a lovely theme first played by the piano but taken up more sweetly by the violin. There is some interesting contrapuntal writing for cello here. The finale is lively and bright, featuring a very Polish-sounding main theme and piano writing that resembles passages in the first movement of the Piano Concerto No. 1 (1829-30). This is a fine early work from Chopin's pen that already shows considerable maturity.



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