Between the summer and November 1827, Schubert composed shortly before his death his grand Trio Opus 100, a masterpiece of high maturity, alongside some miraculous works such as the songs of _Winterreise_ and _Schwanengesang_. It is insightful to juxtapose these two intimacies to realize that they stem from the same inspiration: the same blend of joy and sorrow, the cello’s legato reminiscent of vocal legato, and the same emotion flowing through the veins of intertwined polyphonic lines, exalted by the beautiful complicity of the Moreau Trio. Edgar, David, and Jérémie, all at the peak of their art, illustrate through their enchanted playing the time slipping through Schubert’s fingers, the heart-wrenching laments barely opened, and the ardent nostalgia of the Trio D. 898, a work of unusual breadth for a piano trio, as if Schubert were, in extremis, conquering musical time in all its fullness, in a structure, now loved and blossomed, that becomes the space of song.