The piano trio was composed while Roussel was a student at the Schola Cantorum; in the same year that he wrote the trio, he also began teaching at the Schola (a class in counterpoint). However, his compositions proceeded under the critical eye of his teacher, Vincent d'Indy, and so it is understandable if Roussel's `voice' is not yet fully evident—and, because he was still a student, if the trio's seriousness sometimes approaches pomposity.

Roussel revised this work in 1927, making improvements to the piano writing. The overall structure, however, remained unchanged.

Even in this early work, there are flashes of the brilliance and depth of feeling that lay in the future. For example, the trio ends with a coda that is nothing less than sublime (139K WAV file).

The trio for violin, cello and piano, opus 2, was his first work of major scope — a scope that is excessive in relation to the ideas, which are rather unimportant. [Harry Halbreich]

The Piano Trio in Eb major provides a devastating illustration of the dangers inherent in slavishly following any system of composition. It is not surprising that the Trio won d'Indy's approval, for in it Roussel dutifully observes the cellular and cyclic principles of construction as taught at the Schola.... Repetition replaces development, and rhythmically and tonally Roussel avoids neither of the extremes of monotony and of excessive and inconsequential change of direction. [Basil Deane]

The work is not only an extremely pleasant piece of chamber music, but also provides an interesting insight into the composer's development -- and the piece is not without its individual voice. In this respect, we should not forget that Roussel, despite his inexperience as a composer, was already a mature person with wide experience of life. [Per Skans]

The best Roussel is found among his chamber and instrumental pieces, which include a piano trio (1902), string trio (1937), and a delightful serenade for flute, violin, viola, cello, and harp (1925). [Norman Lebrecht]