mirrors – 21st Century American Piano Trios

£10.99 + P&P

Celebrating Lysander Piano Trio’s 10th anniversary in 2020, they present their FHR début with a new album featuring première recordings of new American piano trios commissioned or premièred by the ensemble.

CD available now from FHR!! Worldwide shipping (released 4 Dec 2020)
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CD/digital/streaming release date: 4 December 2020
US CD release date: 8 Jan 2021

Mirrors – 21st Century American Piano Trios

Lysander Piano Trio
Itamar Zorman violinMichael Katz celloLiza Stepanova piano
Sarah Shafer soprano *

Gilad COHEN (1980–)
1-7. Around the Cauldron (2016)

Reinaldo MOYA (1984–)
8-11. Ghostwritten Variations (2015–2016)

Jennifer HIGDON (1962–)
12-16. Love Sweet (2014) *

Sofia BELIMOVA (2000–)
17. Titania and Her Suite (2014)

William David COOPER (1986–)
18. An den Wassern zu Babel (2010)

Jakub CIUPINSKI (1981–)
19. The Black Mirror (2013–2014)
<< The Black Mirror released as a single (digital platforms only):  13 November 2020 [FHR111S] >>

All première recordings

Recorded 23 January 2018 at Oktaven Audio in Mount Vernon, New York, USA and 21 February 2018 at Ramsey Concert Hall, University of Georgia Performing Arts Center, Athens, Georgia, USA
Produced by Ryan Streber
24bit, 96kHz hi-resolution recording, editing and mastering by Ryan Streber apart from 12–16 recorded by Paul Griffith

Press Quotes

“An enterprising and finely realized collection of recent works for piano trio (all of them first recordings) Lysander Piano Trio, an ensemble now well established on the American recital circuit, which here gets to display its versatility and conviction in abundant measure.” (Arcana)

“Great groundbreaking stuff.” (Midwest Record)

“The Lysander Piano Trio’s “mirrors” is a totally delicious album you will not want to stop playing, partly because of the Trio’s hypnotic proficiency, but it also has an appealing introduction to some noteworthy composers of new music.” (Concertonet.com)

“The members of the Lysander Piano Trio…. display a refined level of versatility and musicianship, and well define each work’s nature and point of departure.” (Classical Music Sentinel)