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

Cheryl Frances-Hoad's The Forgiveness Machine for Piano Cello and Violin. 'The Forgiveness Machine was commissioned by the Phoenix Piano Trio as part of their Beyond Beethoven Project. My work is very closely modeled on the second movement of Beethoven’s Archduke Trio and comprises a set of loosely structured variations many of which are motivically very similar to Beethoven's. This work is dedicated to the memory of my grandmother Christina Hoad. I received this commission in the last months of her life and would often sit in the room listening to the Archduke on my headphones while she rested. Beethoven’s music to me atthat time had an almost transcendental quality to it temporarily permitting an escape from the reality and inevitability of my Nan’s illness. It was this quality of serenity beauty and dignity that I tried to emulate in my work. The title is taken from an art work by Karen Green: the Forgiveness Machine was made after the death of her husband David Foster Wallace and encourages members of the public to write down on a piece of paper what they want to forgive/be forgiven for before feeding it to the machine which sucks up the piece of paper and shreds it (the artwork is some seven foot long). Whilst in my case there is nothing to forgive it was the feeling of catharsis that many people reported after interaction with this artwork that struck a chord with me and had tremendous relevance to this work.' - Cheryl Frances-Hoad

Distance and Enchantment is a musical essay considering the strikingly common occurrence of people who disappear from home never to return. It takes the form of two meditations on traditional songs which are playedtogether without a break amounting to a single movement of about eleven minutes duration. The first song The Dark Eyed Gipsy tells of a woman who of her own accord leaves her home to roam the unknown world with a band ofgipsies; and the second A ghaoil lig dhachaigh gu m'mathair mi tells of a girl who wanders a little too far from home on a dark night and is stolen away by the fairies. Scored for Violin Cello Viola and Piano. Scoreand parts included.

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

The composer writes...Doruntine is the name of a princess in Ismail Kadare's novel of the same name which takes place in thirteenth century Albania. Doruntine who in the piece is represented by the Cello's melody is taken through various strange musical landscapes before she finally finds her way home.The piece was composed 1994 and is dedicated to the Joachim Piano Trio.

Fantasy Pieces op. 88 for Piano Trio. The Fantasy Pieces op. 88 are Schumann?s first contribution to the genre of the piano trio and date from his very prolific ?chamber music year? 1842. However, Schumann needed an unusually long time to give the work its final form: the Fantasy Pieces were released only in the autumn of 1850 after several revisions. The brevity and the modest technical demands of the four charming character pieces make them an ideal entry into the world of Schumann?s chamber music also for non-professional musicians. The Fantasy Pieces, taken from the volume Schumann · Piano Trios HN 916, are now available from Henle for the first time also as a practical single edition.