Movement 1: Allegro non troppo
Movement 2: Adagio
Movement 3: Molto allegro
Movement 4: Allegro con fuoco
In both of these works, the piano is given much prominence, and requires a virtuoso performer. The strings, however, are not merely given the job of accompanying, and in many places have to provide the main thematic material against the energetic piano writing. Both works are cast in the traditional four movements and in each instance Scharwenka places a rather extensive slow movement in second place, following with the scherzo movements in third. Whilst the fourth movement of the quartet has some textural similarity to that of the second piano sonata, Op 36, which was composed at about the same time, and in general reflects the influence of German romanticism in Scharwenka’s musical upbringing, the finale of the trio, by contrast, bears distinct evidence of the composer’s Polish character.
from notes by Martin Eastick © 2002