Trio Inception was founded in 2010 by three young musicians. These childhood friends were looking at a picture taken of them when they realised that no matter how much they wanted to, the three of them could not play together. The reason is very simple: even though the piano, the horn and the cello are instruments that have been regularly paired up in the past, music history has not been kind to them in terms of offering pieces composed for a trio of these instruments. This is why they approache...d young and talented composers to score trios for this special apparatus. They believe that the collaboration emerging between the artists and the composers as they work with the pieces and practice together is as valuable as the the concerts that crown the work. Melinda Virág studied dance at the Budapest Vocational School of Dance from 2002, which was followed by an invitation to participate in the MU Terminal Scholarship Programme in 2005–2006 and subsequently, to become a member of the rejuvenated Central Europe Dance Theatre. She works with Hungarian choreographers on a regular basis: Since 2008 she has been a permanent guest dancer in Krisztián Gergye’s company, while she is also member of the Artus – Gábor Goda company. She has created her own solos and duets and designed choreographies for the Central Europe Dance Theatre. In 2008, her very first independent choreography, a duet entitled “Altera Pars” was nominated for the Rudolf Lábán Prize and selected as one of the 10 most significant contemporary dance performances of the year by the advisory board. In 2007 she was awarded the “Best Performer” prize at the 13th Szeged Alternative Theatre Festival for her performance in the pieces “T.E.S.T” and “Forte piano”. In 2010/11, she was winner of the Viktor Fülöp Dance Scholarship (creative support). Noah and his family were the sole human survivors of the Biblical flood. His sons, the builders of the new world received no guidance from the Lord. Abandoning the wreckage of the grounded ark, they were forced to decode their legacy on the ruins of a destroyed world. Possible constellations of three men in a world devoid of water throughout the drought following the flood. The piece, choreographed to the works of young Hungarian composers, explores and brings to life the rich visual world hidden behind the music. The piece “Változó változatlan” (Variable Constant) was composed for my doctorate concert presented last year. One layer of the two-layered musical work is located in the middle of the sonorous space, while the ostinato-like other layer led along the tone is located in the lower and upper registers as a sort of juxtaposition. (Péter Zombola) My work entitled “Longitude” was written in August of 2004 for cello and piano at the composer course in Semmering, and it was first performed at the closing concert of the course. During that summer I had the good fortune to become familiar with a great number of new pieces, which opened up new, previously unknown musical worlds for me. It was in this spirit that I created the two musical parts that progress along independent musical planes and are brought to life by cello and piano. (Tamás Matkó) Commissioned by Péter Kiss in 2010, Institutio No. 9 was written for cello, horn and piano. Various permutations of the four types of rhythmic values and the breakdown of the four-note, twice repeated chords constitute the frame of the piece. Each chord plays twice and then one note changes. Finally a code loosens up the theretofore strict structure. “Etűd” (Etude) is not an autonomous piece, but rather applied music which I have composed specifically for this production. In contrast to pieces that appear to have a similar character in terms of choreography, this is a fast-tempoed work that is simple, transparent and easy to understand at first listen. (Péter Zombola) The trio dedicated to Péter Kiss was composed in December 2010 in La Paz, Mexico in the pet-store next to the city’s theatre. The title refers to the place where it was composed, as this is the first piece that I have ever written abroad. The musical foundation of the work is composed of two different tone systems, the notes of which are replaced continuously, one by one, as the piece progresses. “E” is the only common note, which is also the ground-note. The notes of the first tone system are clearly indicated by the monotone ostinato that starts as the cello part, with the first expressive melodies of the horn gliding onto it later on through the notes of the second tone system. The piano moves between the two other instruments both in terms of character and tone system, while by the middle of the piece the notes and characters are completely mixed up among the instruments. (Ákos Zarándy)
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