Time was short between the confirmed request for the Trio and the target date for delivery of the manuscript, and so I chose to seek out a congenial but isolated place to stimulate my creative concentration. By extraordinary good fortune I was invited to be artist in residence at a remarkable Foundation in Umbria, Italy, a 15th century castle-retreat called Civitella Ranieri. There, in the midst of olive groves and mountains, sympathetic colleagues and a serene atmosphere, I was able to work happily and the Trio took shape.For two of our performers, Robert Levin and Richard Stoltzman, I have written a substantial amount of music. While I know well the magisterial art of Lynn Harrell, I've never had the privilege of writing for him. Bringing these three artists and friends together to collaborate on a composition of mine is therefore a thrilling moment for me.The Trio is in one continuous movement and is typical of my music in that it proclaims no exclusive ideology. While the music is continuous it traverses sections of clear variety, featuring now one, now another player. There are short episodes of recitative for Cello, a romantic ballad-like cantilena for Clarinet and a brief pseudo cadenza for Piano. But most of the music moves quickly and in concerted texture. Towards the end a slow dirge-like episode darkens and deepens the expression.