Kathryn Selby named her City Recital Hall concert Triple Treat and what a treat it was. You know you’re going to have a good evening when Selby and her friends take to the stage, in this case international Australian violinist, Susie Park, and Helsinki-born Australian cellist, Timo-Veikko Valve. Add to that line up three works by Beethoven and you’ve a sure-fired recipe for success.

The concert started with Beethoven’s Piano Trio in B flat major, Opus 11, written in 1797 when the composer was 27. It’s nicknamed the Gassenhauer Trio because of the third movement which is based on a theme with variations from a tenor aria from a comic opera playing at the time. The aria became so popular in Vienna that it was being sung or whistled throughout the city’s lanes (Gassen in German) becoming what you might call an 18th century ear worm. Beginning with a jaunty allegro, the second movement adagio is a sweetly flowing section leading into that almost Rossini-like third movement. B flat was not a key that Beethoven used much (though of course he uses it to great effect in his Hammerklavier sonata) and he probably chose it because originally the violin part was designed to be played by a clarinet, B flat being its home key.

Then followed the Piano Trio in E flat major, Opus 70, No 2, written in 1808. Just 11 years between the two, but notice the opus numbers, some 59 compositions between the two. This one written when Beethoven had just finished writing the 6th Symphony, the Pastoral. Once again it highlights Beethoven’s innovative approach to chamber music, emphasising dialogue and interaction between the three players, rather than a dominant soloist.

But the real piece de resistance after interval was the Concerto in C major for Violin, Cello and Piano, Opus 56, the Triple Concerto as it’s called. Originally written to be played with an orchestra, 60 years after Beethoven’s death, German composer Karl Reineke transcribed the work for Piano Trio, which involved beefing up the piano part considerably. Originally Beethoven had deliberately left the piano part relatively simple, It was designed to be played by his patron, the Archduke Rudolf, a competent but amateur pianist. As for the violin and cello parts, that was a different matter altogether. The parts are extremely difficult and can only be played well by the very best musicians. The trio of Selby, Park and Valve would have had Beethoven rise from the grave to applaud them, as did the audience. Once again this is a concerto with no dominant player, the tuttis are evenly distributed and the whole made for a thrilling finale to the concert.