Par CASABLANCAS BENET. Albumblatt für Arriaga, commissioned by the Trio Arriaga...(+)
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
(Lonely Angel). Par VASKS PETERIS. For my Meditation for violin and string orche...(+)
(Lonely Angel). Par VASKS PETERIS. For my Meditation for violin and string orchestra Lonely Angel, I was guided by the following vision: An angel hovers over the world, contemplating the state of the battered Earth with tears in his eyes. But an almost imperceptible, loving touch with his wings brings comfort and healing.
This piece is a response to the pain. The solo part of the violin lends a sonorous voice to the lonely angel who tirelessly watches over the Earth. The version for piano trio was composed at the suggestion of the Trio Palladio.
(Peteris Vasks) / Date parution : 2022-05-31/ Répertoire / Violon, Violoncelle et Piano
Score and Parts.Commissioned by the Chamber Music Society of Lincoln Centre. Fi...(+)
Score and Parts.Commissioned by the Chamber Music Society of Lincoln Centre. First performance 19 May 1998 Merkin Concert Hall New York City.Quoting Weir: 'In my previous work I have often enjoyed inventing titles whichattempt to encapsulate the particular world of each composition but this fifteen minutes piece for violin cello and piano is simply entitled Piano Trio . What is the reason for this unusually abstract description? I thinkperhaps that in this piece the many external impressions which habitually make up my musical world have become too numerous and too personal to be pinned down in the space of few words that a composition title allows.The firstmovement began in my mind with impressions of Venice as relayed in Schubert's song Gondelfahrer; the crisp midnight air the dark choppy water the bells tolling the gondolier alone in emotional turmoil. Schubert's world is aplace where I can find constant inspiration and strength.The second movement recalls a time when I was called from a phone box in Africa. At one moment I was alone in my room the next (or so it seemed in my imagination)surrounded by light heat and sudden energy and activity. The movement is not however an evocation of African music; it takes the form of a scherzo and trio which collide with each other at the movement's conclusion.Thethird movement formed in my mind whilst I was reading some Gaelic poetry from the Hebridean island of Lewis on Scotland 's far flung Atlantic fringe. I was thinking of the bleached white beaches in that part of the world whereevery object lying on the sand - a washed-up bottle or a bird's skeleton - is a major event in a deserted landscape. The same might be said of this short set of musical variations where melodic fragments are laid out with plentyof space around them clear and plain for everyone to hear.
Par WENNAKOSKI LOTTA. Lotta Wennäkoski tells about her 10 minute long work Pä...(+)
Par WENNAKOSKI LOTTA. Lotta Wennäkoski tells about her 10 minute long work Päärme (Hem) for piano trio: 'We often speak in music of crafting in a figurative sense, and craftsmanship is, for the composer particularly, a traditional professional virtue. I personally have from time to time nevertheless been interested in the concrete images aroused by handicrafts, the way fabrics feel, and sewing. The pi-ano trio Päärme/Hem has a pulsative character, especially in the outer sections, and the idea of steady but erratically colourful stitching prompted the amusing and highly unusual word I chose for the title of the piece. The hemming in this trio is cheerfully brisk, though the result is not al-ways even intended to be over-neat or regular. For noise sounds are also an intrinsic feature of a hand-made texture. As is often the case with me, my source of inspiration in composing was the fact that the Sibelius Piano Trio would be giving the first performance. The slow, melodic material of the static middle section is to a great extent indebted to the knowledge of just how succulently such delicate, inten-sive lines can sound in the hands of ace players.' This product includes the score (=piano part) and parts for violin and violoncello, all in B4 size. / Date parution : 2022-05-31/ Répertoire / Trio avec Piano
For Piano Trio.The Brook Sings Loud was commissioned by the Aberdeen Chamber Mus...(+)
For Piano Trio.The Brook Sings Loud was commissioned by the Aberdeen Chamber Music Club for the Kungsbacka Trio.'As this was one of the first pieces that the Club commissioned I thought it would be appropriatefor the piece to have some sort of Scottish theme or influence. I have always been interested in Pibroch (Piobaireachd) - classical bagpipe music that was prevalent from the sixteenth to the eighteenth centuries in the ScottishHighlands. I have not attempted to imitate the sound of the bagpipes; however I have been influenced by some of the techniques associated with this music.' HelenGrimeInstrumentation:ViolinCelloPiano
Cheryl Frances-Hoad's The Forgiveness Machine for Piano Cello and Violin. 'The ...(+)
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
Score and parts for Simon Holt's Piano Trio: Los Ojos for Piano Violin and Cell...(+)
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
5 movements derived from the score I wrote for the Michael Nyman Band in early 2...(+)
5 movements derived from the score I wrote for the Michael Nyman Band in early 2009 as a soundtrack to the film 'Poczatek'. For this project I selectedextracts from classic Polish feature and documentary films of the 50s 60s and 70s and organised them into a sequence of 20 linked one minute 'single theme' films.This version was made specially for the FidelioTrio. -MichaelNyman (2010)
'When writing this composition - commissioned by The Naantali Music Festival (F...(+)
'When writing this composition - commissioned by The Naantali Music Festival (Finland) for the summer 2010 - I kept all the time in mind the three outstanding Finnish musicians the future performers of the piece: Ralf Gothòni (Piano) Elina Vähälä (Violin) and Arto Noras (Cello).' - Aulis Sallinen First performance: 11 June 2010 at the Naantali Church Finland by Ralf Gothòni Elina Vähälä and Arto Noras.
Tom zawiera g osy skrzypiec altówki i wiolonczeli. Opracowanie g osów smy...(+)
Tom zawiera g osy skrzypiec altówki i wiolonczeli. Opracowanie g osów smyczkowych: Krzysztof Jakowicz Roman Jab o ski. Wspó praca: Marceli Szczerek (altówka).
I Feel Another Heart Beating-Je Sens Un Deuxième Coeur was commissioned for E...(+)
I Feel Another Heart Beating-Je Sens Un Deuxième Coeur was commissioned for Emanuel Ax by The Carnegie Hall Corporation. The world premiere was given at the Judy and Arthur Zankel Hall Carnegie Hall New York City on 12 April 2004 by Emanuel Ax PaulNeubauer and Fred Sherry.
À l?époque classique et pendant une grande partie du 19e siècle les trios av...(+)
À l?époque classique et pendant une grande partie du 19e siècle les trios avec piano consti-tuaient pour ainsi dire des articles très tendance. Il n?est donc pas surprenant qu?après Haydn et Mozart Beethoven se soit lui aussi essayé à ce genre et ait laissé en tout 13 trios avec piano. Ce premier volume contient les trois trios avec piano op. 1 qui sont aussi les toutes premières ?uvres considérées par Beethoven comme dignes de porter un numéro d?opus. Ils sont ac-compagnés du trio op. 11 pour clarinette ou violon violoncelle et piano (dit «Gassenhauer»). Lorsque Beethoven présenta les trois trios op. 1 au public probablement lors d?une soirée chez le prince Lichnowsky en août1795 (à laquelle assistait aussi Joseph Haydn) il suscita une grande admiration. Ces trios restent jusqu?à ce jour des joyaux du genre.
