The collection of trios by Jacqueline Fontyn spans more than half a century. From the early Piano Trio to the late Fille du vent, it documents a musical language that continually evolves while retaining its clarity, expressive restraint, and sensitivity to texture.
La fenêtre ouverte reflects Fontyn’s affinity with the painter Pierre Bonnard; Aube and Fille du vent engage with poetic images. In Lieber Joseph! and Ferne Spuren, she enters into a creative dialogue with Haydn and Spohr, transforming historical reference into an individual contemporary language.
The performers illuminate the music’s many shades without overemphasising its complexity. The result is a chamber-music portrait of great coherence, in which finely balanced textures and expressive intensity remain inseparable.