Fritz Kreisler (1875-1962)
Marche Miniature Viennoise

Antonín Dvorák (1841-1904)
Danse slave, op. 46/2

Edvard Grieg (1843-1907)
Danse norvégienne, op. 35/2 (arr. H. Sitt)

Enrique Granados (1867-1916)
Andaluza, op. 5 (arr. M. Fröst)

Béla Bartók (1881-1945)
Danse populaire roumaine, Sz 68, BB 76 (arr. M. Fröst)

Maurice Ravel (1875-1937)
Pavane pour une infante défunte (arr. M; Fröst)

Piotr Ilyitch Tchaikovski (1840-1893)
Trepak (arr. M. Fröst)

Johannes Brahms (1833-1897)
Danse hongroise n° 6 (arr. H. Risenfeld)

Franz Bendel (1833-1874)
Polka caractèristique "Souvenir d'Hongrie" (arr. N. Hansen)

Stephen Heller (1813-1888)
Tarantelle

Ottokar Novacek (1866-1900)
Danse bulgare, op. 6/1

Ludwig van Beethoven (1770-1827)
Menuet de la Sérénade en ré majeur, op. 8 (arr. H. Böhme)

Franz Schubert (1797-1828)
Quatre Danses allemandes, op. 33 (arr. P. Zilcher)

Josef Strauss (1827-1870)
Polka Mazurka "In der Heimat", op. 231 (arr. M. Fröst)

Waldmüller Trio Wien

Ines Miklin, violon
Martin Fröst, violoncelle
Anna Gellan, piano

Under the title “Kaleidoscope Europe”, this CD presents a musical journey that encompasses the entirety of Europe. Central to the album is dance, which serves as a medium that unites individuals irrespective of their origin, religion, language, or culture, allowing them to communicate through music and bodily expression and encouraging collective self-expression. The album features dances from eleven different European countries, commencing and concluding the musical journey in Vienna— the home of both the ensemble and the painter Ferdinand Georg Waldmüller. By integrating musical pieces from various nations, dance emerges as a symbol of the unity found within Europe’s diverse cultures. All compositions are arranged for piano trio, with the exception of the opening march by Fritz Kreisler, which was originally composed for this instrumentation. Some arrangements were crafted by Martin Först, the cellist of the trio, specifically for this production. Thus, these compositions are being presented in this configuration for the first time. Through these adaptations, works originally composed for piano or orchestra take on a new form: the auditory experience is enhanced by numerous dimensions—particularly regarding color richness and transparency – revealing intriguing and novel facets of the compositions to listeners.