Mixed trio

In 1993, Richard Lane was commissioned by Ron Levy and the Manchester Chamber Players (Vermont, USA) to write this Trio for viola, cello and piano. The first movement depicts a playful and blissful dialogue between the viola and cello and it ends... Read more

This Trio is characterized by rich chromatic harmonies within a polyphonic texture where all three parts share equal solo and accompaniment roles, creating a strong interplay and dialogue. Expressive lyrical melodies with much use of rubato are... Read more

This trio has two main parts. The first has the character of a rhapsody and makes virtuostic demands of the three musicians. Frequent cadenzas highlight this section. The second part, an Allegro scherzando, allows the instrumentalists to have a... Read more

Gene Young's "Thirty-Five Mescals In Cuautla" is a setting of Malcolm Lowry's (1909-1957) autobiographical verse that is derived from his towering novel, "Under The Volcano" (1947).  All the performers are severely challenged technically and pushed... Read more

Valery Strukow’s Trio, written in 1995 and formatted in three movements, features the inventive and often humorous talent of this versatile Russian composer, who worked for many years as composer in residence of the famous Great Circus of Moscow. Read more

Lasting images and impressions that make up several days spent in Tokyo. I. Shibuya - A traffic light where a river of people moves almost mechanically, everyone follows their own direction. II. Meiji Jingu - A temple immersed in greenery where... Read more

This trio is a very representative work of Richard Lane’s writings: elegant phrasing, subtle harmonic structure and undulating music developments. Read more

This Trio No. 1 shows Richard Lane’s ability to write beautifully and lyrically for these three instruments and to blend them with some resulting outstanding sound combinations. This three-movement work, adhering to classical forms, is a superior... Read more

The six short movements (Prelude, Waltz, Song, Procession, Tarantella, Finale, for a cumulative duration of ten and a one-half minutes) are like a pastiche of style exercises presented with a dash of humor which the composer himself described as... Read more

Handel's oratorios, operas, and cantatas abound with examples of virtuoso writing for the trumpet. The arias which make up this set were selected on the basis of their musical interest and their possible use for recital or liturgical purposes. Read more

Handel's oratorios, operas, and cantatas abound with examples of virtuoso writing for the trumpet. The arias which make up this set were selected on the basis of their musical interest and their possible use for recital or liturgical purposes. Read more

Cantata BWV 20 («0 Ewigkeit, du Donnerwort», for the first Sunday after Trinity and first performed between 1723 and 1727) is one of several in which Bach writes for slide trumpet («tromba da tirarsi»). The present aria, «Wacht auf», opens the... Read more

Cantata No. 90, «Es reifet euch ein schrecklich Ende, ihr sundichen Verächter, hin» [There ripens for you a dreadful ending, ye sinful scorners], belongs to the first cycle for the liturgical year, that Bach wrote at Leipzig. The opening aria, for... Read more

Before Aristotle (384-322 B.C.)  and Plato (c.428-c.348 B.C.), before Buddha (VI or V c. B.C.) and Confucius (551-479 B.C.), in an age when the calendar had ten months, the year had 354 days, and people told time with a sun dial, Aesop (end of VII,... Read more