Instrumentation: piano trio (violin, violoncello and piano) Edition: score and parts editor: Eberhard Mayer Item no.: fue 4160 Difficulty: medium ISMN: 979-0-50012-916-5 Mel Bonis?s music became more and more influenced by a highly refined impressionism over the years. Her work was enriched by new rhythmic innovations and willingly turned towards humour. Surely they belong to the most important chamber music compositions in French Post Romanticism and can greatly enrich today?s concert programmes.

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.

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

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