Alexandr Kislitsyn violin

Ovidiu Marinescu cello

Anna Kislitsyna piano


Internationally acclaimed Trio Casals has created original programs that juxtapose the great classical tradition of Beethoven and Brahms with new works written by American composers such as HIlary Tann, Edna Longoria, Michael Cohen, and Giovanni Piacentini. Albums in the trio’s MOTO series on Navona Records, MOTO CONTINUO (2015), MOTO BELLO (2018), MOTO QUARTO (2019), and MOTO CELESTE (2020), have all culminated in grand release concerts at Carnegie Hall’s Weill Recital Hall.


The Trio returns with MOTO ETERNO, showcasing the work of ten of today’s creative forces in contemporary composition. These works for piano trio, solo cello, and duets are drawn from motion in poetry, nature, and human emotion. They offer lyricism, inspiration, and insight into the creative minds of today.



MATTHEW HETZ (b. 1957) is a contemporary Californian composer. A native of Los Angeles, he began piano lessons at age 16, and began playing the violin at age 23. Hetz has composed works for solo instruments, songs, chorus, chamber ensembles, symphony orchestra, and a chamber opera. His works have been performed nationally, and recently his “Elegy for the Victims and Survivors of School Shootings,” was selected to be performed in a PARMA Recordings virtual concert, MOTO VITRUO II, by cellist Ovidiu Marinescu. Hetz is currently an instructor at Santa Monica College’s Emeritus program. He was the president and executive director of the Culver City Symphony Orchestra and Marina del Rey Symphony for 16 years, and plays in the Orchestra’s 2nd violin section. He was also a member of the West Los Angeles College Chamber Orchestra and the Dominguez Hills/Carson Symphony. The composer devotes himself to the causes of environmental and mass transit advocacy. Hetz is extremely grateful to PARMA Recordings for this recording of his Sarajevo Cellist.



Pierre Schroeder , a French native, came to music as a child, studying classical piano and transcribing themes from movie composers. Pursuing a lifelong interest in music and design, he studied architecture at L'Ecole des Beaux-Arts in Paris, before graduating from Berklee College of Music in Boston. After moving to Los Angeles, he won a number of national and international music competitions for choral works and orchestras, including the American Composers Forum 2005 Art Song Competition, with a premiere performance by Isabel Bayrakdarian during the Schubert Club's Summer Festival. His compositions have been performed in Los Angeles, with KUSC live broadcasts from the Los Angeles County Museum of Art, Herbst Theater in San Francisco, Saint Paul Minnesota, Paris and Lyon France, and Dublin’s National Concert Hall of Ireland.


Emotions are in the center of his work, and reviewers have noted cinematic elements in his music, while describing “an imaginative musical craftsman at work, capable of evoking real wonder, mystery, reverence, and celebration.” “To performers and listeners, Pierre’s work are challenging, engaging and combine sophisticated compositional structures with relevant contemporary elements. Schroeder’s works maintain the intellectual and tonal traditions of European music while exploring a modern sensibility of rhythm and color, creating atmosphere, nuance and abstraction out of finely crafted orchestrations."


Schroeder also composed electronic and orchestral scores for short movies and animated films, as well as documentaries. “America the Bountiful,” a six part series which aired on PBS and the History Channel earned him a Telly Award for outstanding documentary. His CD recordings “Pagan Mass" and “Atlantis” were released by Centaur Records, while “The Four Seasons” was released on Ravello Records and “Voyage" on Navona Records.These albums have aired nationwide in the United States and in Western Europe.


photo: Robert Robert


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. From pieces such as Cycles and Myths and Mosaics to Vanishing Perspectives and All in Golden Measure, his works often take their impetus from visual cues. The interplay between background and foreground materials makes his music immediately approachable but with a rich structural layer. Critics have called his music “constantly inventive, clear, full of energy and admirably precise” (San Antonio Express News), “splendidly energetic and excellently crafted” (WASBE Conference Review), “lively, intelligent, and blustery” (Fanfare), and “haunting and intensely moving” (San Antonio Express News).


Originally from Washington State, Kramer began studying the piano at a young age, and, although later trained as an 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 different aspects of American popular music into his pieces. He has written for and been commissioned by a wide variety of ensembles, from professional orchestras and chamber groups to high school bands and college choirs. His works have been performed widely throughout the United States and Canada— from Carnegie Hall to college campuses— and in Europe, South America, and Asia with performances by symphony orchestras (Indianapolis, Detroit, Tacoma, San Antonio), chamber groups (North/South Consonance, SOLI Ensemble, ONIX Ensemble, Luna Nova, Detroit Chamber Winds, Ensemble Mise-en), and university ensembles (Michigan State, Arizona State, Indiana University, Florida State). He has also been a featured composer at the San Antonio International Piano Competition, the Midwest International Clinic, the Utah Arts Festival, and at national conferences of the American Guild of Organists, the Society for Electro-Acoustic Music in the United States, the American Choral Directors Association, the Society of Composers, Inc., and the College Music Society. In 2019 – 2020 he served as the Composer-not-in-Residence with the San Francisco Choral Artists.


Kramer has received grants from the Guggenheim Foundation, the National Endowment for the Arts, the MacDowell Colony, Meet the Composer, Broadcast Music, Inc., ASCAP, the American Guild of Organists, and the American Music Center among many others. His degrees are from Pacific Lutheran University (B.M.) and the University of Michigan (M.M. and D.M.A.), where he studied with William Albright, Leslie Bassett, William Bolcom, and George Wilson. He was also a Fulbright Scholar to Germany, studying with Martin Redel. Beginning in 1991 he taught at Trinity University in San Antonio for 19 years, where he founded CASA (the Composers Alliance of San Antonio). In 2010 he accepted a post as Professor of Music and Chair of the Music Department at Illinois College in Jacksonville IL, and was named the Edward Capps Professor of Humanities in 2013, and Professor Emeritus in 2020. His works are commercially published by Southern Music, Earnestly Music, Hinshaw, and Selah and are available on Calcante, North/South, Capstone, and Navona.


photo: Jason Wolters

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.


From 1994 to 2005 he attended composition classes at COMA (Contemporary Music for All) summer schools, studying with Michael Parsons, Diana Burrell, Daryl Runswick, Michael Finnissy, Stephen Montague, Deirdre Gribbin, and John Woolrich. In December 2001, after two years of part time study at the University of Newcastle upon Tyne, he was awarded the degree of M.Mus. in composition. During this time, he studied with Agustin Fernandez and Deirdre Gribbin.

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.


He earned degrees in Music Theory and Composition from Hofstra University, Queens College, and the Graduate Center, City University of New York. He studied composition with Tania León, Bruce Saylor, Lee Chandler Carter, and Herbert Deutsch.


Bridges’s multifaceted career has included teaching music theory at Brooklyn College, designing and teaching a composition series at Buckley Country Day School, a tenure as associate conductor of the CUNY Contemporary Music Ensemble, and performing new music on clarinet. Currently, he manages concerts and other events for Merkin Hall at Kaufman Music Center and is on the Board of Directors for The Astoria Choir where he develops and manages collaborative programs fostering the interaction of regional composers with the ensemble and audiences, including a commissioning series.


photo: Olivia Heaton

John G. Bilotta was born in Waterbury CT, but has spent most of his life in the San Francisco Bay Area where he studied composition with Frederick Saunders. His works have been performed by soloists and ensembles around the world, including Rarescale, Earplay, the Talea Ensemble, the Washington Square Contemporary Music Society, North/South Consonance, the Avenue Winds, the Presidio Ensemble, the Boston String Quartet, the San Francisco Composers Chamber Orchestra, the Kiev Philharmonic, the Oakland Civic Orchestra, San Francisco Cabaret Opera, Bluegrass Opera, Boston Metro Opera, Thompson Street Opera, New Fangled Opera, Floating Opera, and VocalWorks. He serves on the Board of Directors for Goat Hall Productions and on the Executive Committee of the Society of Composers, Inc., for which he edits SCION, the organization’s opportunities newsletter. He currently serves as President of the San Francisco Bay Area Chapter of NACUSA.


photo: Mitsuo Negishi

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.


In 2009, Paterniti started to study composition under Carmelo Chillemi, and under his guidance in 2019 he graduated in composition.


Along with his formal studies, he attended masterclasses and studied with eminent masters like Leonid Margarius, Vincenzo Pavone, Giuseppe Andaloro, Mattia Ometto, Maria Federica Righini, Pierluigi Camicia, Roberto Cappello, and Leslie Howard. He took part in several seminars: in July 2016 with the Oscar-winning John Corigliano on music architecture; in October 2019 with Paolo Vivaldi on picture sound; and from June to October 2020 he was admitted to a musical composition course with Mauro Bonifacio and Azio Corghi to the Accademia Filarmonica di Bologna. In 2020 he was admitted to the Accademia Nazionale di Santa Cecilia in Rome in the class of Ivan Fedele.


He has won first prizes in piano, chamber music, and composition. His music was selected in a PARMA Recordings Call for Scores.


As a composer, he has likewise obtained awards and acknowledgements, as well as in Italy, in Wien, Athens, New York, Seattle, North Hampton, Saint Petersburg, Busan (South Korea), São Paulo.


He performed as a solo pianist and a solo organist and accompanist. He has also played in chamber orchestras, band formations, and other ensembles.


His composition works and musical essays are published by Florestano Edizioni, Pizzicato Verlag Helvetia, Da Vinci Publishing, LIM (Libreria Musicale Italiana), and MD Edizioni.



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. Her work with Samba Laranja has garnered three SAMMY awards (Native Orange, 2011, Pathways, 2014, and Guaraná, 2019). She has collaborated with choreographers to create new music with dance, and completed five residencies in Syracuse area public schools. Her music has been released on the Navona, SUR, and International Musicians Network labels. Jones is the Program Manager and mid-day host on WCNY-FM, Central New York's Classical Radio Station, and the creator, host, and producer of "Feminine Fusion," a nationally-syndicated weekly program highlighting women in the classical music world. She is past President of the Society for New Music, and her music has been featured on Fresh Ink, the weekly new music broadcast produced by the Society.


A recipient of the Billy Joel Fellowship, a fellowship with the Chamber Music Institute at the University of Nebraska - Lincoln, and awarded the prestigious Grace F. and Theodore Berger Award from the University of Delaware, Jones has also been inducted into Pi-Kappa Lambda, the music honor society. Active as a performer as well as a composer, Jones regularly performs with Samba Laranja, and plays contrabass flute with the Central New York Flute Choir. She has played flute and piccolo in regional orchestras, and was one half of the flute duo, Flutes of Fancy. Jones is privileged to have studied with outstanding composers Daniel S. Godfrey, Nicolas Scherzinger, and Jennifer Margaret Barker.


photo: Eric Hayden



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. Price is a 2014 graduate of Indiana University South Bend with a degree in Music Composition. She has studied with Jorge Muñiz, John Mayrose, and Thom Limbert. Price has had her compositions performed throughout the United States by both amateur and professional musicians. In addition to composition, Price is an active performer in both large and chamber ensembles.


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.


Following his discharge from the United States Army, Cohen held positions as Music Director on the flagship of the Norwegian American line, Associate Music Director at Atlanta’s Music Under the Stars, Dance Composer and Arranger at Tamiment resort, and Music Director at Green Mansions, a venue which produced weekly live theater events. ​During his time at Green Mansions, Cohen hired the yet undiscovered Madeline Kahn and a long friendship developed. He composed several songs for Madeline, including Das Chicago Song, which she sang for her Broadway debut in New Faces of 1968 and later for an audition with Mel Brooks for a role in Blazing Saddles. In 1969, Cohen established the music department at Grey Advertising in New York City, and over a period of 30 years as Senior Vice President, Director of Music, produced and composed thousands of commercials, winning multiple Clio awards.


In 1981 he teamed up with librettist Linsey Abrams to write Rappacinni’s Daughter, a two-act opera based on Natheniel Hawthorne’s short story Rappacinni’s Daughter. A finalist in the New York City Opera competition, it was later developed at the Eugene O’Neill Center, and at Minnesota Opera. Cohen and writer Enid Futterman collaborated on Yours, Anne, a music-theater piece based on The Diary of Anne Frank. Yours, Anne has been performed in many US cities, as well as in England, Holland, Brazil, and Japan. The success of the musical resulted in two commissioned works– the song cycle “I Am Anne Frank,” performed by Andrea Marcovicci and the American Symphony Orchestra for the Spirit of Anne Frank Awards at Lincoln Center, and I Remember, a chamber work which premiered at the US Memorial Holocaust Museum in Washington, D.C.


Cohen scored and arranged A Passover Seder, a 1995 PBS television program presented by author and Nobel Laureate, Elie Weisel. He has received numerous commissions from the Concert Artists Guild, Serenata, Music Amici, the Manhattan Brass Quintet, and the trio Windsong. His composition, To Be A Child, was premiered at the Copland Heritage Society’s official opening of the Aaron Copland home to the public. Cohen has served as a board member for the Concert Artists Guild, The Center for Contemporary Opera, and The American Society for Jewish Music. He is a member of ASCAP.





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