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

Short Version-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

Per Violino, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / 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.

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.