Moto Eterno

Matthew Hetz composer
Pierre Schroeder composer
Timothy Kramer composer
John Hawkes composer
David T. Bridges composer
John G. Bilotta composer
Christian Paterniti composer
Diane Jones composer
Katherine Price composer
Michael Cohen composer

Trio Casals
Alexandr Kislitsyn violin
Ovidiu Marinescu cello
Anna Kislitsyna piano

Release Date: March 26, 2021
Catalog #: NV6341
Format: Digital & Physical
21st Century
Piano Trio

Ten international composers showcase their respective styles on MOTO ETERNO, the latest installment of NAVONA’s successful MOTO chamber music series. Like the previous MOTO releases, MOTO ETERNO is the result of a wide-ranging Call For Scores and a scrupulous selection process. Acclaimed piano trio Trio Casals (Ovidiu Marinescu, cello; Alexandr Kislitsyn, violin; Anna Kislitsyna, piano), masterfully perform their favorite picks. With its inherent innovation, zest, vigor and verve, MOTO ETERNO proves to be another triumph for the long running series: a journey full of musical twists and turns, at times soothing, at times furious, and highly immersive throughout.


Hear the full album on YouTube

"There are no weak pieces in the programme, and all draw sensitive and committed playing from the trio"

Gramophone Magazine

Track Listing & Credits

# Title Composer Performer
01 Cello Sonata "Sarajevo Cellist": I Matthew Hetz Ovidiu Marinescu, cello; Anna Kislitsyna, piano 7:55
02 Glimmer Pierre Schroeder Ovidiu Marinescu, cello; Anna Kislitsyna, piano 10:18
03 Vanishing Perspectives Timothy Kramer Ovidiu Marinescu, cello 8:37
04 Bright Hair Falling John Hawkes Alexandr Kislitsyn, violin; Ovidiu Marinescu, cello; Anna Kislitsyna, piano 6:05
05 Three Caprices: No. 1, Playful David T. Bridges Alexandr Kislitsyn, violin; Ovidiu Marinescu, cello; Anna Kislitsyna, piano 1:29
06 Three Caprices: No. 2, Fickle David T. Bridges Alexandr Kislitsyn, violin; Ovidiu Marinescu, cello; Anna Kislitsyna, piano 1:45
07 Three Caprices: No. 3, Jazzy David T. Bridges Alexandr Kislitsyn, violin; Ovidiu Marinescu, cello; Anna Kislitsyna, piano 1:02
08 Beauty from Forgetfulness John G. Bilotta Alexandr Kislitsyn, violin; Ovidiu Marinescu, cello; Anna Kislitsyna, piano 5:09
09 Notturno Christian Paterniti Ovidiu Marinescu, cello; Anna Kislitsyna, piano 4:16
10 Crooked Lake Diane Jones Alexandr Kislitsyn, violin; Ovidiu Marinescu, cello; Anna Kislitsyna, piano 8:45
11 Heliotrope Katherine Price Alexandr Kislitsyn, violin; Ovidiu Marinescu, cello; Anna Kislitsyna, piano 2:54
12 Monday Morning Michael Cohen Alexandr Kislitsyn, violin; Ovidiu Marinescu, cello; Anna Kislitsyna, piano 7:58

Recorded July 13-15 and August 28-31, 2020 at Morningstar Studios in Norristown PA
Session Producer Brad Michel
Session Engineer Glenn Barratt

Executive Producer Bob Lord

Executive A&R Sam Renshaw
A&R Director Brandon MacNeil
A&R Chris Robinson, Quinton Blue, Mike Juozokas, Danielle Lewis

VP, Audio Production Jeff LeRoy
Recording Sessions Director Levi Brown
Audio Director Lucas Paquette
Editing, Mixing & Mastering Brad Michel

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Patrick Niland, Sara Warner

Artist Information

Matthew Hetz

Matthew Hetz


Matthew Hetz (b. 1957) is a native to Los Angeles where he still resides. His formal music studies began at age 16 with piano lessons, and composing has always been in the forefront. He began playing the violin in his 20s, and joined local orchestras, an experience of tremendous importance and influence for composing. His study of composition and music at California State University, Dominguez Hills in the 1980’s was at the height of atonality, with the dissolution of harmony as the accepted compositional practices.

Pierre Schroeder


Pierre, a French native, came to music as a child, studying classical piano and transcribing themes from movie composers on the family’s piano. Emotions are in the center of his work, and reviewers have often noted cinematic elements in his music, while describing “an imaginative musical craftsman at work, capable of evoking real wonder, mystery, reverence, and celebration.”

Timothy Kramer


Timothy Kramer’s music reflects his fascination with motivic patterns, cyclical relationships, and musical gestures that unfold in a variety of changing speeds and textures. Originally from Washington State, Kramer (b. 1959) began playing the piano at an early age, and, although trained as a pianist, organist, and harpsichordist, he spent many years as a youth playing bass guitar in jazz and rock ensembles. His music reflects this influence, and he sometimes integrates various aspects of American popular music into his pieces.

John Hawkes


JOHN HAWKES (b. 1942) first obtained a basic knowledge of music notation while in a church choir, but it was not until he was 14, when he heard an orchestra for the first time, that he became interested in composition. This interest has remained ever since, despite his subsequent career in science as a lecturer in Physics at the University of Northumbria in the U.K. Since taking early retirement in 1996, he has devoted his time to composition.

David Bridges Headshot

David T. Bridges


The music of composer and clarinetist David T. Bridges is often driven by motivic transformations and unifies extended techniques with classic and narrative structures to provoke a visceral response. Bridges’s compositions have been performed by ensembles including Del Sol Quartet, Contemporaneous, ensemble mise-en, Mivos, and Cadillac Moon Ensemble and featured at the New Music on the Bayou Festival in Louisiana, Reciprocity Collaborative at Boston’s Museum of Fine Arts, Red Note Festival at Illinois State University, Hot Air Music Festival at San Francisco Conservatory, and Composers Now Festival in NYC. His string quartet This Fragmented Old Man was recorded by the Pedroia Quartet and released on Navona records.

John G. Bilotta


John G. Bilotta was born in Waterbury, Connecticut, but has spent most his life in the San Francisco Bay Area having attended the University of California at Berkeley and, later, the San Francisco Music and Arts Institute where he studied composition with Frederick Saunders.

Christian Paterniti


An Italian native, Christian Paterniti graduated in piano with honors under the guidance of Caterina del Campo at the Arcangelo Corelli Conservatoire in Messina, Italy. Under Gaetano Indaco, he obtained a degree in piano and recommendation to publish his dissertation on Traité historique d'analisé harmonique (1982) by the composer and musicologist Jacques Chailley.

Diane Jones


Diane Jones’ music has been performed by The Relâche Ensemble, The Da Capo Chamber Players, Trio Casals, and Flautet. She has been commissioned by Mélomanie, the Society for New Music, and the Matilda Joslyn Gage Foundation, and she recently completed a commission from the Syracuse International Film Festival to score the 1919 silent film, “The Doll,” screened during the 2019 festival with a live ensemble.

Katherine Price


Katherine Price (b. 1992, Indiana) is an American composer of choral music, orchestral music, and chamber music native to Indiana. Price began composing as a child, writing down her compositions at age 13. Drawing influences from the Anglican Choral Tradition, European early music, American folk music, Orthodox hymnody, and holy minimalism, her compositions reflect the styles of such composers as Arvo Pärt, John Tavener, and Knut Nystedt.

Michael Cohen


New York City native Michael Cohen has a diverse and expansive career as a composer. His many compositions include works for chamber ensemble, musical theater, opera, and television. He attended the High School of Music and Art and the Dalcroze School of Music, graduated cum laude from Brandeis University, and studied composition with Harold Shapero and Irving Fine.

Trio Casals


Since making a highly-praised debut at the 1996 edition of the Pablo Casals Festival in Puerto Rico, Trio Casals has delighted audiences with spectacular virtuosity, engaging enthusiasm, and exquisite musical elegance. The ensemble released several commercial albums with PARMA Recordings and Navona Records to critical acclaim with Ovidiu Marinescu and past members including Anna Kislitysyna, Alexandr Kislitsyn, and Sylvia Ahramjian, from the beloved MOTO series to A GRAND JOURNEY and more. Marinescu remains in the current ensemble line up, with Mădălina-Claudia Dănilă and Timothy Schwarz joining in 2024.

Ovidiu Marinescu

Cellist, Composer

Ovidiu Marinescu is internationally recognized as a cellist, composer, conductor, and educator. He has performed at Carnegie Hall, Weill Hall, Merkin Hall (New York), the Great Hall of the Moscow Conservatory, Holywell Room in Oxford, Oriental Art Center in Shanghai, and has appeared as soloist with the London Symphony, New York Chamber Symphony, the National Radio Orchestra of Romania, Moscow Chamber Orchestra, Helena, Great Falls, Portsmouth, and Newark Symphonies, Southeastern Pennsylvania Symphony Orchestra, Cleveland Philharmonic, Limeira Symphony in Brazil, Orquesta de Extremadura in Spain, and most of the professional orchestras in his native Romania. The album LONDON CELLO CONNECTION features Marinescu and London Symphony Orchestra in eight newly commissioned cello concertos by North American composers.

Anna Kislitsyna


Pianist and harpsichordist Anna Kislitsyna made her solo debut at age 10 with the Omsk Symphony Orchestra. She remains in high demand as a soloist, collaborative pianist, and educator. Recent season highlights include five new album productions with PARMA Recordings and two release concerts in Carnegie Hall’s Weill Recital Hall, performing Haydn and Shostakovich Piano Concertos with Helena Symphony and Southeastern Pennsylvania Symphony Orchestra, and returning to the Omsk Philharmonic as a soloist to give the inaugural performance on the new harpsichord.


The siege of Sarajevo lasted from April 5, 1992, through February 29, 1996. I was shocked at the fierceness, brutality, and ruthlessness of the siege I read in newspapers and saw on TV broadcasts. From the book, “Vedran Smailović: The Brave Cellist of Sarajevo Still Moves the World:” On May 27, 1992, a long line of people had queued up at one of the still functioning bakeries in Sarajevo. A mortar shell fell into the middle of the line, killing 22 people and creating a bloody mess of body parts and rubble. A cellist who lived close to the bakery and was appalled, and helped the wounded. He felt powerless as he was neither a politician nor a soldier—he was a musician, who could speak truth to the heart beyond any language. The cellist took his cello to the spot where those waiting for bread had been butchered and began to plaintively play. He played in a daze but in an incredibly evocative way. In spite of the risk, people gathered to listen. When he was finished he packed up his cello and went to a coffee shop. In later days he would go to other sites of where lives were taken or bodies were wounded by shelling.

After seeing this anonymous cellist on the news playing for the people of Sarajevo and for the dead, the impact of this man’s actions stayed with me. I finally felt the need to try to compose a piece of music, and composed a two-movement sonata for cello and piano, Sarajevo Cellist. The anonymity of the cellist helped to inspire me to compose the work, since I could use the figure as a universal character of a tremendously caring musician.

The first movement, the recording on this album, is my imagining, or really trying to imagine from the relative safety of Los Angeles, what this cellist went through. I have never been in a war setting, but using images from readings, movies, television, and news programs, I tried to create the machine of war: the brutality, the fear, bullets flying, rockets coming in, the loudness of war, and those strange moments when hostilities cease, and an unworldly quiet settles in until the next round of bullets, destruction, and death. This is my imaging of the cellist working his way around Sarajevo amidst the war and amongst the wounded and dead. The second movement (not recorded) is my idea of the balm of music the cellist gave to the wounded, and to the souls of the dead. Years later, while attending Mass at Loyola Marymount University in Los Angeles, a visiting Jesuit priest talked about this Sarajevo Cellist, and the book by Daniel Bury. I now knew the cellist’s name. The impact of what he did has not diminished.

— Matthew Hetz

And what would a music be, that wouldn’t make you sing, dance, or cry?

— Francis Wolff

A lone glimmer flickering quietly
a glimmer of hope – do not miss
Or twinkle lights dancing festively
parade of ever changing promises

Glimmer shining through fog and sea
radiant faith of a safe harbor image
Or deep in the night of mount and valley
the shimmer of a fairy tale village

Santa Ana winds blowing in panic
glimmer ambers to wildfire memories
Or bouncing on the strings of music
softly lighting a golden thread to bliss

— Pierre Schroeder

Vanishing Perspectives (for amplified cello) was commissioned by cellist Craig Hultgren in 2003 and premiered in 2005. After considering many of the new innovations and new works written for solo cello, I realized that I wanted to write a piece that would readdress the cello’s more traditional role as a robust and singing baritone instrument. I thought that perspective was vanishing in much of the new music I was seeing, especially for an instrument that is tuned in fifths, often plays bass lines, and has such a strong tradition of playing tonal music. This work is also built on fragments of an earlier piece of mine, “Cycles and Myths,” and uses the idea of the half-step fall as a strong tonal force that shapes both small and large-scale motion. The amplification and reverberation help add a spatial dimension to the vanishing sounds and gestures, expanding the expressive quality of the instrument.

— Timothy Kramer

I wrote Bright Hair, Falling for a workshop given by the Schubert Ensemble of London at a COMA (Contemporary Music for All) summer school in 1999. I came across the title, by chance, on the internet in a reference to a waterfall. The piece has three main sections: the first represents the gathering of the water before the falls and culminates in an upwards glissandi on both the violin and cello as the waters hurtle over the edge.

Time then slows down as we follow the water cascading downwards. Note clusters on the piano represent the turmoil of the descending water, but we also have several almost stationary episodes where we catch glimpses of the spirit of the falls staring out at us from behind the cascades. The section ends with very loud piano clusters right at the bottom end of the piano. In the third, very brief, section, the water gathers in a dark pool beneath the falls and the piece ends as the water sets off on the next part of its journey.

— John Hawkes

Three Caprices is a set of miniatures for violin and cello. The first movement, “Playful,” juxtaposes several cellular ideas, each time creating variations on accents, meter, length, and texture. Quickly moving from one cell to the next, this movement keeps the performers and listeners on their toes. In the first half of “Fickle,” the performers avoid the commitment of playing together as an ensemble, except for fleeting movements. They join together for a lyrical middle section, but before completing even a single phrase, the cellist breaks into the opening idea. “Jazzy” explores motivic development to create moments of polyrhythm, call and response, and invertible counterpoint; an overall off-kilter dance to bring the set to a rousing finish. Written for Patti Kilroy and Meaghan Burke of the Cadillac Moon Ensemble, Three Caprices premiered on April 10, 2014 at Elebash Recital Hall, New York City.

— David T. Bridges

Beauty from Forgetfulness is a one-movement work for piano trio. The title of the piece is taken from the poem “Epithalamium” by E. E. Cummings:

And still the mad magnificent herald Spring
assembles beauty from forgetfulness

The piece premiered on November 3, 2012 at the San Francisco Community Music Center as part of the annual NACUSAsf Composers Performance Ensemble concert. The performers were Monica Gruber, violin, Dahna Ruder, violoncello, and Libby Kardontchik, piano.

— John G. Bilotta

Endowed with a sentimental nature, Notturno is a piece of intense emotions. The intertwining of cello and piano are the leitmotiv of the work. Notturno is a hymn to those dreamy feelings that the night brings to everyone’s heart.

— Christian Paterniti

Keuka Lake, one of the New York Finger Lakes, is Y-shaped, an unusual formation that has earned it the nickname “Crooked Lake.”

This slow and gentle work is inspired by the view over the lake, with the sun glinting off of the surface and the sounds of the birds and the breezes across the water. I imagined myself setting off from a dock in the early morning, paddling quietly, occasionally stopping, drifting, and simply experiencing what the lake chooses to share.

— Diane Jones

The word “Heliotrope” originates from Ancient Greek and it means “to turn toward the sun.” In the piece Heliotrope, there are fractals of leaving and returning, from the crescent-shaped sixteenth-note figures in the piano right hand, to the melody in all three voices whose tessitura spans an octave before returning to the note it started on, to the A-B-A form of the piece. Heliotrope is a celebration of the leaving and returning of the sun. The piece is also named for the flower, whose purple blooms inspired the otherworldly tone of the piece.

— Katherine Price

For many years, most of my projects had been concerned with the Anne Frank Diary and the Holocaust. A composer friend, Michelle DiBucci, thought it would be a good idea for me to write a lighter piece for a change, so she commissioned me to compose a trio. I accepted the assignment and wrote Monday Morning, which premiered in New York on June 11, 1999 with Kristina Cooper cellist, Laura Frautschi violinist, and pianist John Novacek.

Though not a literal piece of program music, I tried to capture the excitement and almost frantic quality of the new week and the commuter off to work. There is a slow middle section— it could be the wait in traffic and a time for reflection— or perhaps a coffee break… In any case, it lasts for a short time and then the opening section returns with renewed vigor, and the traffic moves on… or back to work! The piece is in one movement with three sections: Allegro Energetico, Andante, Tempo Primo. 

— Michael Cohen


Vanishing Perspectives

Timothy Kramer

Bright hair, falling

John Hawkes

Beauty from Forgetfulness

John Bilotta

Crooked Lake

Diane Jones


Katherine Price

Monday Morning (excerpt)

Michael Cohen