Score and parts for Simon Holt's Piano Trio: Los Ojos for Piano Violin and Cello.Piano Trio: Los Ojos was first performed on 25th November 2013 in the Amaryllis Fleming ConcertHall at the Royal College of Music London by Johannes Marm?n (Violin) Zo? Saubat (Cello) and Gwenaelle Rouger (Piano).I finished writing Piano trio: Los Ojos in early May 2007. It is approximately13 minutes long and has a three-movement structure of essentially two slow movements separated by a central fast section. The final slow movement is a variation of the opening movement ending with a ?toy? defined by ThomasMace(a contemporary of William Lawes) in his 1676 book Musicke?s Monument as ?a light-Squibbish Thing only fit for Fantastical and Easie-Light-Headed People; and are of any sort of Time?.The Machado poem behindthe piece Los Ojos (the eyes) is about a widower who has locked himself away but after a year begins to wonder about the colour of his beloved?s eyes. He is horrified that he can?t remember. One spring day he leaves the houseand just happens to glimpse a flash of eyes through a window and instantly recalls the colour; ??Como esos!?; ?Like those!?. The three movements have the titles: 1] su memoria y el espejo ?his memory and the mirror?; 2] ?Comoeran? ?How were they??; and 3] ?Como esos! ?Like those!?. - Simon Holt

For Violin Cello and Piano. Composer's Notes 'Even though this work was intended to celebrate (as instructed by the commissioner Brolly Arts of Salt LakeCity) the wildlife and landscape of Utah (and especially its birdlife notably the sora which has a noticeable influence on the melodic writing at times) the title refers ironically in this 'natural' context to the re-seeing’of (mainly industrial) reality in early Soviet photography. Aleksandr Rodchenko (1881-1956) drew attention to the new type of photographer as someone who photographs 'facts' and who is able through photography to fight against'looking like art' with high quality examples and to do this you have to experiment going as far as the ‘easelisation’ of the photographic art.The work was written for and first performed by the Ahn Trio in November2004 in Salt Lake City and is dedicated to the memory of John Peel the British radio disc jockey who died during the final stages of its composition.' - Michael Nyman

This piece was written as a tribute to the people of Fair Isle a remote community that lies between Orkney and Shetland which is also the home of the composer. The work was composed for the Grieg Trio of Norway and reflect theensemble's virtuosity with striking cadenzas that showcase the performers. The music is rugged ever-changing and full of the energy of this unique landscape.

When Smetana composed his Piano trio in the autumn of 1855 it was an act of catharsis to recover from the death of his four-year-old daughter Friederike. This highly emotional work was also his first large-scale piece of chambermusic. Its first public performance in December 1855 was regrettably not a great success and so Smetana embarked on a protracted process of reworking it. By the late 1850s it had reached its current form. Smetana always liked toperform it but only found a publisher for it in 1880 when one of his pupils invited the Hamburg publisher Hugo Pohle to a performance at short notice. Smetana specialist Milan Posp Å¡il has based this Henle Urtext edition on thefirst edition by Pohle but has also drawn upon the earlier sources. This has enabled him to iron out numerous inconsistencies found in the first edition.

from the Old Viennese dance tunes-Apart from the collection of 'Classical Manuscripts' composed by Fritz Kreisler (1875-1962) and passed off by him as transcriptions of movements by old masters the violonist published original works very early. Kreisler himself liked to play them as encore pieces sweetening many a concert with such pieces of 'musical confectionary'. The most famous miniatures are undoubtedly 'Love's Joy' and 'Love's Sorrow' two 'old Viennese dance-tunes' in which Kreisler evoked the coffee-house atmosphere of his home town with wonderful melodies and beguiling harmonies. The miniatures are endearing lively and catchy yet with an elegiac air but full of charm and elegance. Thesemagnificent salon pieces are now available in an arrangement for piano trio by Wolfgang Birtel.

Klaviertrio-As with all of his mature chamber music works Ravel also emerges as an innovator of traditional forms and techniques in his piano trio composed in 1914. Thus the ?Passacaglia? movement corresponds to the underlying form of theBaroque Period. The music on the other hand was according to Ravel ?like that of Saint-Saëns? which was surely meant ironically. For the historicizing template only served as a framework for experiments with musical idiom: froma constant oscillation between major and minor to combinations and overlaying of the most diverse metres. The fingering for our edition of this technically extremely demanding work was provided by the renowned French pianistPascal Rogé.