Helene Liebmann (1795-1869) was born in Berlin to a wealthy Jewish family. At an early age, it was determined that she was a child prodigy not only as a pianist but also as a singer and composer. Her parents saw to it that she was given lessons from the best teachers then available. In Berlin, she studied piano with Franz Lauska, a Clementi student, and composition with Johann Reichart's student Wilhelm Schneider. In London, she studied both piano and composition with the piano virtuoso and Beethoven student Ferdinand Ries. Writing a review of Liebmann's early compositions for the Allgemeine musikalische Zeitung, the most important German Music Journal, the critic initially expressed his dread of having to review what he derisively called "ladies' music," which he found to be nothing more than a weak imitation of the work by male composers. However, upon studying her works, he was happily surprised and wrote that her music could stand comparison with that of the early masters, meaning Haydn and Mozart. He then went on to write that her works would be enjoyable to both performers and listeners. Following her death in 1869, Helene Liebmann's music fell into obscurity during the late 19th and early 20th centuries, largely due to entrenched gender biases that marginalized women composers in historical narratives and repertoires, compounded by antisemitism targeting Jewish artists amid rising German nationalism.
Most of Liebmann's compositions were published primarily between 1811 and 1817. Her Grand Trio in A major, Op. 11 (sometimes listed as Op.13) dates from 1816 while she was living in London and studying with Ferdinand Ries. She dedicated it to him. It was published by the firm of C.F. Peters in Leipzig. It is in three movements: Allegro, Andante, and Polonaise. (In the manuscript, we can see that Liebmann misspelled the French version, calling it Polonoise. German and Austrian composers generally used the Italian alla Polacca) Ries's influence is evident in the formal clarity and expressive depth of the writing. The Polonaise finale is particularly spirited and highlights Liebmann’s skill in rhythmic vitality and dance-like character.
There has been considerable confusion as to the opus numbers of Liebmann's works. This work has sometimes gone by the opus number 13. Her Cello Sonata also bears the Op.11 number. Even worse is that Liebmann wrote a second piano, this one in D Major, which generally goes by the number opus 13. The piano sonatas were composed one after the other and sent to her publisher at the same time. Our new edition is based on the 1816 original Peters edition. It is a charming work deserving concert performance and can also be recommended to amateurs.