Piano Concerto in D major, H. 18/11
7 I. Vivace 07:26
8 II. Un poco adagio 06:33
9 III. Rondo all’Ungherese – Allegro assai 04:07

The dominance of the piano part does not imply that the late trios are not of the highest quality. Rosen devotes an entire chapter of his well-known book The Classical Style to them, focusing on the works from the 1780s and beyond (Nos. 18–27 and 32–45), while also mentioning two of the early ones (Nos. 5 and 17). [2] He notes that Haydn's trios are "along with the Mozart concertos the most brilliant piano works before Beethoven ." [3] Gretchen Wheelock refers to the trios as "incredible", adding "the late works especially are brilliantly virtuosic, exploiting the full idiomatic range of the instrument [., the piano]. They are also among the most harmonically adventurous of his works in any genre, often reaching into remote keys via enharmonic modulation . As such they are challenging essays for both players and listeners." [4]

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Émile Decombes took over as Ravel's piano teacher in 1889; in the same year Ravel gave his earliest public performance. [20] Aged fourteen, he took part in a concert at the Salle Érard along with other pupils of Decombes, including Reynaldo Hahn and Alfred Cortot . [21]


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