Par MOZART WOLFGANG AMADEUS. Since their publication in the New Mozart Edition, Mozart's sonatas K. 10–15 count as piano trios. Furthermore, the title of the first edition, published by father and son Mozart in 1765 reads 'Six Sonates pour le Clavecin qui puevent se jouer avec l'accompagnement de Violon ou Flaute Traversiere”. In other words, these pieces are harpsichord sonatas that may be accompanied at will by a violin or a transverse flute. In a partial press run of the first edition a cello part was included. Our new edition is the first to take these conflicting formats into account by presenting two separate versions, one being the unaltered harpsichord part, the other a full score with separateinstrumental parts for violin/flute and cello. The harpsichord part [CV 51. 010/10] is indeed capable of standing by itself and requires no instrumental expansion. The melody instrument, in contrast, merely function as an accompaniment or contribute brief interjections, or, in the case of the cello, reinforce the left hand of the keyboard. In other words, K. 10–15 are not only Mozart's earliest piano trios, they are also his earliest keyboard sonatas to survive intact./ Répertoire / Violon, Violoncelle et Piano

Light And Matter was jointly commissioned by the Library of Congress Britten Sinfonia Norrbotten NEO and the Aeolian Chamber Players in honour of the 50th anniversary of the Bowdoin International MusicFestival. Composed in 2014 by Finnish composer Kaija Saariaho the piece is for Violin Cello and Piano. Saariaho states that her inspiration for this work came from looking out of herwindow in New York at the changing lights and movements of Morningside Park. The piece manages to accurately represent the dynamism of movement and kinetic energy through the musical interplay of the threeinstruments. The piece saw its world premiere at  Bowdoin International Festival on July 30th 2014 with Renee Jolles on Violin Nicholas Canellakis on Cello and Benjamin Hochman onPiano.

Sonata for Violin and Cello and composed by Luigi Boccherini was transcribed and annotated by Paul Bazelaire a professor at the National Conservatoire. Ideal for a recital or for a contest this sonata in four parts is quite challenging for both instruments and would require advanced skills. The Cello score is written over the C and the F key and each of the four parts includes numerous repetitions and fast sections. These four parts are 1. Allegretto Spiritoso 2. Vivace 3. Grave and 4. Allegro Assai. This really nice Sonata will be a delight to play and to listen to. LuigiBoccherini (1743-1806) composed numerous pieces for various instruments including Cello duets chamber music cantatas ballets orchestral music masses and a large amount of music for strings.

Par CASABLANCAS BENET. Albumblatt für Arriaga, commissioned by the Trio Arriaga and lasting some 7:30 minutes, is the composer's fourth contribution to the classical violin, cello and piano ensemble, for which he has a special esteem. The work was written in homage to the composer Juan Crisóstomo Arriaga, and at the same time as a token of gratitude and admiration for the Trio Arriaga, to whose members the work is dedicated; a double motivation that is reflected in the title of the work. Its course is presided over by a markedly lyrical character that coexists with passages full of energy, rhythmic vivacity and drama. The introduction and epilogue of the work are based on a musical motif derived from the name of the Basque composer (Ju-A-n C-r-I-S-ostomo A-rr-I-A-G-A), made up of the notes A, C, E, Eb, A, E, E, A, G, A, in the manner of a musical acrostic, and from whose nature the harmonic and thematic material of the whole work is largely derived. The premiere of this Trio took place on 5 November 2015 in the Chamber Hall of the Palau de la Música Catalana in Barcelona. / Date parution : 2022-02-03/ Répertoire / Violon, Violoncelle et Piano

Par YE XIAOGANG. 'Datura was commissioned by Accessible Contemporary Music and was written in a unique way. I composed the piece in installments over the summer of 2006 and emailed them to Seth Boustead who forwarded them on to the ensemble. In this unique way of working I was able to have time between each installment to think about what would come next and to get feedback from the performers about the music. This is a very new and different way for a composer to work. Usually I write the piece in solitude and then hand it to the performers but writing in installments allows more communications between the performers and the composer and allows the audience to hear the piece as its created. Datura is another series of pieces composer written about Asian plants and flowers. Datura is a very common houseplant in south China and very beautiful but it can also be used as a hallucinogen, usually with unpleasant results. In this piece the composer juxtaposed the other beauty of the plant with the intense inner would it can create by using alternately tranquil and intense musical passages.' (Xiaogang Ye)/ Répertoire / Flute, Violin, Cello and Piano