"It was love at first sight", writes Francesco Biraghi about the first time that he and his colleagues played through Molino's Grand Trio Concertant op. 30. At that time it had not yet been published in a modern edition, and they were merely trying it out, but "it showed itself as a clear classical work, very well fitting the bowed instruments and quite virtuosic in the concertante guitar part". Read Biraghi's extended preface to this work.

Actually, in my opinion this is one of the greatest of all chamber works with guitar, full of originality and beauty. (And it is not particularly difficult.) A rich larghetto leads into the theme, stated by the violin (or flute, see below) with the other two instruments underneath. Variation 1 is given to the viola and guitar with rapid passages with the violin just commenting occasionally. In variation 2 the guitar comes into its own while the viola pizzicatos its way along, the violin just listening this time. Then in variation 3 the violin has shimmering runs. In parts of variation 4 the viola and guitar are again heard in duo. Variation 5 is busy for everybody. Variation 6 is again for the guitar, with running triplets that never seem to cease.

In the minuet, suddenly in the viola part we seem to hear a hurdy-gurdy, and in the trio the guitar shines. Yet again, in the rondo the guitar is given its fair opportunity, again once or twice in a short duet with the viola.

In short, it's a work full of grace and elegance and humour, full of musicality. And the guitar doesn't just accompany the others, it's a very worthwhile part.

This is the first modern edition of this work, which as far as I know has never before been published since Molino's time. I made this present edition here in Hebe as a result of Francesco Biraghi's suggestion and I am grateful to him for this very good idea. It is now directly downloadable online here in Hebe, a fully modern edition with score and parts. It may later be published by Tecla in a conventional paper edition, but for the moment it is available only here online in Hebe. Any guitarist who plays with other musicians will welcome the fact that it is now available.

FLUTE OR VIOLIN?

In the earlier trios op. 4 of Molino, only flute was mentioned and there was no sign of violin fingering. But in this trio op. 30, and again in the Second Grand Trio Concertant op. 45 of a few years later, the title-pages both say for "flûte ou violon". Was the top part in opp. 30 and 45 really conceived to be played equally well by either instrument? Or were they really composed for one of the two instruments rather than the other?

In the case of op. 30 it can be argued either way. Molino knew both instruments well. He was himself a violinist who composed two violin concertos, and the fact that the trios op. 4 specify the flute shows that he was at home with the flute also. Biraghi prefers violin for both trios op. 30 and op. 45 and writes: "I actually prefer to play these trios always with two bowed instruments, also because Molino was a good violinist and violist. Moreover you see, on the Breitkopf edition of the Trio op. 45 (in your Tecla collection) there is a clear indication of a 'flauto o violino' part, but at page 4, 5th line, first bar you find '2e corde'. . . I heartily believe that also Molino had in mind the violin better than the flute. Maybe in op. 30 the flute matches in a better way the part, but de gustibus non disputandum est!"

In the case of the slightly later Second Grand Trio Concertant op. 45, although the title-page says "flûte ou violon", the part contains some fingering specifically for the violin, so the violin was definitely in mind in that work although it can perfectly well alternatively be played on the flute.

In op. 30 the part says Flauto only with no trace of fingering for either instrument, but the title-page says "flûte ou violon". Moreover, Molino was himself the publisher, so the words "flûte ou violon" to some extent have his authority, which they would have to a lesser extent if the work had been published by some third-party publisher.

We must leave it up to you, to the musicians who will use this edition, to decide whether to play the top part on flute or violin. Molino was a violinist by profession as well as a guitarist. So as far as one can see, it can be played by either. On the other hand, flute would give a different balance.

* * * * *

The Grand Trio Concertant op. 30 was first published by Molino acting as his own publisher and in conjunction with La Lyre Moderne, rue Vivienne no. 6, in Paris probably in the early 1820s (not later than 1824 because it is listed in the 1824 supplement to Whistling), as parts only, no score. This present edition has taken as its source a copy of that original edition.

The wording of the original title-page is: Grand Trio Concertant pour Flûte ou Violon, Alto et Guitare, Dédié à Monsieur François J.J. Snoeck, Professeur de Guitare et de Violon, par François Molino. Opera 30. Prix: 7f. 50c. A Paris, chez l'Auteur, Rue de l'Echelle, No. 8, Et à la Lyre Moderne, au Magasin de Musique et d'Instrumens, Rue Vivienne no. 6. Propriété de l'Auteur. Déposé à la Direction.

No changes have been made to the music other than such things as changing "Tema" to "Theme". All fingering, ornaments, etc., are original. The notation in the original edition is careful in its details, for example the flute/violin part in the variations bars 103, 111, etc.

The music engraving for this edition was made by Alexander V. Trukhin.

I wish to express my thanks to Mário Carreira and his colleagues who kindly proofread the Molino trios and suggested corrections. Of course any errors which remain are my reponsibility.

Brian Jeffery