With this very first recording, dedicated to the corpus of the six piano trios with opus numbers from Beethoven, the Trio Sōra immediately establish a strong identity: that of a training course committed to demanding repertoires, concerned with authenticity and carrying audacity.

With strengths including meticulous exploration of the composer’s manuscripts and correspondence, as well as the rigorous analysis of his scores, Clémence de Forceville (violin), Angèle Legasa (cello) and Pauline Chenais (piano) reveal the extraordinary modernity of a visionary creator, who has been able to develop and revolutionize, from his first opus in 1795, the form initiated by his master Haydn: conceived as concert works of his trios show the singularity of a very contrasted writing, integrating all the elements of the sound and technical specificities of each instrument in contrapuntal combinations. The famous Trio À L'archiduc (op. 97), the last composition of this cycle, appears as a crowning achievement of the genre, a “hymn to nature and love whose humanistic scope is obvious” explains the Trio Sōra. As for the Trio Des Esprits (op. 70), also very famous, it offers the composer to open the doors of a new sound and emotional universe.

Trio Sōra revive here the image of the artist tortured by his deafness. “The more we move forward in the opus,” explains the Trio Sōra, “the more we see the Beethovenian discourse grow a psychological and philosophical dimension. We have discovered a very different face, that of a young man perpetually in love, full of humour and derision, whose sensibility is at the height of his powers.”