Khachaturian was still a student of Myaskovsky at the Moscow Conservatory in the early 1930s when he wrote this trio for clarinet, violin, and piano, and yet it displays the same rhythmic and harmonic devices that mark his mature works. What first distinguishes Khachaturian's Clarinet Trio from nearly all others written earlier, such as Mozart's, Beethoven's, or Brahms', is his use of the violin rather than the mellower-sounding viola or cello. The higher-sounding string instrument becomes more of a partner to the clarinet, sharing the melodic duties throughout the piece. In three movements, the trio displays Khachaturian's trademark use of crossrhythms, folk songs, and harmonies that could be thorny at some times or bittersweet at others. The opening Andante con dolore, molto espressione is a duet for the clarinet and violin, almost improvisational, with the piano accompaniment adding a complex layer seemingly in rhythmic conflict with the other instruments. It takes extremely skilled ensemble players to make it sound right. The middle Allegro is very obviously modeled on folk dances, with rich color and precise rhythms. The Moderato finale is a set of variations on an Uzbekistani folk song, effectively contrasting the timbres of the instruments and showing off the clarinet as a folk instrument. Prokofiev was so impressed with this piece that he was able to see that it was performed and published in Paris soon after it was completed.

© Patsy Morita, All Music Guide