Mozart’s K. 502 Piano Trio was penned in 1786, the same year as his ‘Kegelstatt’ Trio for clarinet, viola and piano, and piano concertos K. 488, 491 and 503. Its own piano writing also feels concerto-esque, both in its brilliant first movement and, after a lyrical Larghetto, its sparkling final rondo. Violin and clarinet are then the stars in Bartók’s three Contrasts, commissioned in 1938 by jazz clarinettist Benny Goodman and violinist Joseph Szigeti. After ‘Verbunkos’, referencing a dance performed by Hussar regiments during military recruiting, comes the central ‘Pihenö’ nocturne, before racing ‘Sebes’ requires the violin be re-tuned to produce open-stringed diminished fifths. While Brahms’s autumnal op.114 Clarinet Trio of 1891 was inspired by clarinettist Richard Mühlfeld, the clarinet, cello and piano feel evenly balanced over its Allegro, Adagio and Andantino grazioso and Allegro.