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 selected extracts 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 Fidelio Trio. -Michael Nyman (2010) / Violon, Violoncelle Et Piano

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.

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

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

Le tiers de piano, trios de Dvorák a été écrit en 1883 à Prague, une version révisée est apparu à l'automne de 1883 publié par Simrock à Berlin basé sur la collaboration directe avec le compositeur. La principale source de cette présente édition, basée sur la 'édition complète des oeuvres d'Antonín Dvorák', estce la publication de Simrock qui présente la version définitive de l'oeuvre. Nouvelle préface détaillée (Cz / Eng / Ger) par HansJoachim Hinrichsen et Ivana Rentsch Comprend une partie de violoncelle nouvellement gravé / Violon, Violoncelle Et Piano

Qu'est-ce que Fazil Say et le sportif extrême Felix Baumgartner ont en commun? Espace Jump: le saut spectaculaire de la stratosphère. Dans cette composition, Say représente chaque phase du saut, du décollage à l'atterrissage en toute sécurité sur la terre. Intense fascination de Say à cet événement a suscité un travail contenant toutes les émotions qu'il a vécu en tant que spectateur. / Violon, Violoncelle Et Piano