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)

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

Alle großen Komponisten seit der Renaissance haben die feststehenden Teile der Messliturgie, Kyrie, Gloria, Credo, Sanctus und Agnus Dei, vertont. Auch das Requiem, die Hymnen und Sequenzen [darunter Te Deum und Stabat Mater] oder die Karwochenliturgie sind Gegenstand vieler herausragender Kompositionen. Michael Wersin, Musikwissenschaftler, Sänger und Chorleiter, führt in diesem einzigartigen Band mit etwa 400 Werkbesprechungen von über 150 Komponisten in den Kosmos der lateinischen Kirchenmusik ein, der heute im Konzert und auf Tonträgern so präsent wie niemals zuvor ist. Im Anhang: CD-Empfehlungen zu allen besprochenen Werken./ Répertoire / Livre

For violin cello and piano'The title 'Time Will Pronounce'is taken from the last lines of Joseph Brodsky’s poem 'Bosnia Tune' which deals with the horror of the unnecessary unacceptable daily deaths in Bosnia during 1992 (andstill in 1993): ‘Time whose sharp blood-thirsty quill parts the killed from those who kill will pronounce the latter tribe as your type’. The violin and cello are (generally) treated as a unit independent of the piano. Theform (generally) alternates slow and fast tempi without motivation. The musical ideas are (generally) carried over from section to section. (Generally) the harmonic melodic and textual materials features third and semitonesderived (generally) from the movement of the bass part in the opening bars.