The Triple Concerto Op.56 for Piano, Violin, Violoncello and Orchestra in C major is unique in musical literature, and Beethoven (1770-1827) was well aware of this: as he proudly wrote to his publisher, the combination of a piano trio with an orchestra was entirely new. The main innovations are his choice of solo instruments and the importance accorded the orchestra, which is elevated to the status of an equal, symphonic partner of the three solo instruments. The solo instruments enjoy ample freedom, either following each other’s entries, playing together, or having an intimate private dialogue with the orchestra.

Beethoven's Piano Concerto No. 0 WoO 4 in E-flat is a work rarely performed and therefore practically unknown to the wide public. It was written by Beethoven back in 1784, when he was only 14 years old. Written in the style of classical composers of the late 18th century, it already contains a number of original and characteristic features of the composer's later works, especially in the brilliant and virtuoso piano writing.

Ekaterina Litvintseva is one of the most remarkable pianists of her generation. Her recordings won her enthusiastic acclaim in the international press: “a notable moment in the history of Chopin interpretation” (Fanfare); “a sense of spontaneous invention” in Mozart’s K271 (Gramophone) and “an expressive depth” in Brahms’s 1st Piano Concerto (BBC Music Magazine). On this recording her partners are equally distinguished soloists: violinist Lusiné Harutyunyan and cellist Benedict Kloeckner, who already appeared on Piano Classics in cello sonatas by Chopin and Franck.