Monday, February 4, 2008

Trio Con Brio: How Big Is the Piano Trio Repertoire, Really?

Trio Con Brio
Like any literature, we tend to hear a small number of pieces played frequently—a variety of motives account for the popularity of a subset of the canon. Ensembles prepare what the ‘market’ wants to hear and what presenters know will please their audiences. Recording companies strongly favor what has sold in the past. And so, having never previously looked myself to see how many trios exist, after the Trio Con Brio performance I asked cellist Soo-Kyung Hong a dumb question: “How big is the repertoire for Piano Trio? I know it is tiny compared to, say, the String Quartet literature. But how small is it?”

Her answer was coy. “It is bigger than people think. But not more than about 100 Piano Trio works.”

My reaction was more shocked than maybe she expected. How could it be so small as just 100? Surely there must be many under-performed or forgotten works that she is leaving out of that number! Soo-Kyung added, “But in recent years everybody’s been very busy commissioning new things. We ourselves have commissioned a few.”

My curiosity was piqued. I spent Sunday searching on the web and came up with this list. Watch it scroll by below if you have time to kill, or you can download it as HTML file here. I come up with more than 400 piano trios. And without doubt I have missed some—I only spent an afternoon compiling this at home after all. I have not plowed through a conservatory’s library, only Google. (It was more interesting than the U.S. football game that was on television. New England defeated ... by their own defense. New York won. )

Aren’t there some of these pieces that merit more frequent performance and recording? Yes! Such a beautiful and accessible idiom! Can we continue the trend and commission yet more of these Piano Trios? Sure!




A


Karl Abel
  • Six Trios, Op. 5 (1764)

Lev Abeliovich
  • Piano Trio (1955)

Jean Absil
  • Piano Trio, Op. 7 (1931)

Samuel Adler
  • Piano Trio (1964)

Kathryn Alexander
  • Piano Trio 'AroundAbout' (2006)

Franghiz Ali-Zadeh
  • Impromptus (2004)

Charles-Valentin Alkan
  • Piano Trio in g minor, Op. 30

Jan van Amerongen
  • Piano Trio (1986)

David Amram
  • Piano Trio 'Dirge and Variations' (1962)

Iosif Andriasov
  • Trio, Op. 7

Fikret Amirov
  • To the Memory of Ghadsibekov (1953)

Volkmar Andreae
  • Piano Trio (1901)
  • Piano Trio No. 2 (1914)

Hendrik Andriessen
  • Piano Trio (1947)

Caroline Ansink
  • Piano Trio 'Skopos' (1988)

Violet Archer
  • Piano Trio No. 2 (1956)

Anton Arensky
  • Piano Trio No. 1 in d minor, Op. 32
  • Piano Trio No. 2 in f minor, Op. 73

Isabel Aretz
  • Piano Trio (1965)

Claude Arrieu
  • Piano Trio (1958)

Valery Arsumanov
  • Trio, Op. 183

Juan Artero
  • Piano Trio 'Epilogo a la auscencia' (2007)

Lera Auerbach
  • Piano Trio, Op. 28 (1992-1996)



B


Arno Babadzhanyan
  • Trio in f-sharp minor (1953)

Victor Babin
  • Piano Trio (1956)

Carl Phillipp Emmanuel Bach
  • Three Trios Op. 2

Johann Christian Bach
  • Two Trios

David Baker
  • Contrasts (1976)
  • Roots (1976)
  • Roots II (1992)

Vytautas Barkauskas
  • Modus vivendi, Op. 108 (1996)

Roland Batik
  • Four Intermezzi

Dennis Báthory-Kitsz
  • Piano Trio 'Full House Reset' (2000)

Ludwig van Beethoven
  • 3 Piano Trios, Op. 1
  • Piano Trio in B-flat, alternate version of the trio for clarinet, violoncello and piano, Op. 11
  • Piano Trio (arrangement of the second Symphony in D major, Op. 36)
  • Piano Trio (arrangement of Septet in E-flat major, Op. 20), Op. 38
  • Allegretto B-Dur WoO.39
  • Variations for Piano Trio in E-flat major, Op. 44
  • Piano Trio (arrangement of string quintet in E-flat major, Op.4), Op. 63
  • 2 Piano Trios (D major ‘Ghost’; E-flat major), Op. 70
  • Piano Trio in B-flat major ‘Archduke’, Op. 97
  • Adagio, Variationen and Rondo op.121a (Kakadu Variations)
  • Variations on Müller’s Song for Piano Trio in G major, Op. 121a
  • From ‘A Select Collection of 25 Original Irish Airs’ (WwO 152)
  • From ‘A Select Collection of 20 Original Irish Airs’ (WwO 153)

Peter Benary
  • Piano Trio (1974)

Arthur Berger
  • Piano Trio (2000)

Leonard Bernstein
  • Piano Trio (1937)

Franz Berwald
  • Four Piano Trios (1851)

Frank Beyer
  • Piano Trio 'Lichtspuren' (2008)

Evgene Birman
  • Piano Trio 'Rhapsodie' (2003)

Rainer Bischof
  • Trio Fragile, Op. 21 (1985)

Martin Bjelik
  • Piano Trio in B Major (1986)

Boris Blacher
  • Piano Trio (1973)

Ernest Bloch
  • Three Nocturnes (1924)
  • Piano Trio (1925)

Luigi Boccherini
  • Piano Trio in e minor, Op. 12

Christopher Bochmann
  • Piano Trio 'Meditation' (1970)

Joseph Bodin de Boismortier
  • Piano Trio, Op. 50 (1734)

Sergei Bortkiewicz
  • Trio, Op. 38 (1928)

Hans-Jurgen von Bose
  • Piano Trio (2002)

Susan Botti
  • Piano Trio (2008)

Lili Boulanger
  • Deux pièces en trio (1918)

Martin Boykan
  • Piano Trio No. 2 (1997)

Johannes Brahms
  • Piano Trio No. 1 in B major/minor, Op. 8 (1891)
  • Piano Trio No. 2 in C major, Op. 87
  • Piano Trio No. 3 in c minor, Op. 101
  • Piano Trio No. 4 in A major, op. post. (spurious)

Paul Brantley
  • Piano Trio 'Thomas Weaver in memoriam' (1982)

Bert Breit
  • Shibbolet Trio (1996)

Martin Bresnick
  • Trio (1988)

Frank Bridge
  • Phantasie Trio (Piano Trio No. 1) 1907
  • Piano Trio No. 2 (1929)

Benjamin Broening
  • Piano Trio (1991)

Max Bruch
  • Piano Trio in c minor, Op.5 (1857)

Paul Bruinen
  • Piano Trio 'Mano' (1990)

Ignaz Brüll
  • Trio in E-flat Major, Op. 14

Lou Bunk
  • Piano Trio (2008)

Steven Burke
  • Fury of Bloom(2001)

Alan Bush
  • Piano Trio (1947)

Ferruccio Busoni
  • Andante with Variations and Scherzo, Op. 18a (K. 184)



C


Charles Camilleri
  • Piano Trio (2005)

T. Patrick Carrabre
  • Piano Trio No. 2 'From the Dark Reaches' (2002)

Alfredo Casella
  • Siciliana e Burlesca, Op. 23-bis

Gaspar Cassadó
  • Piano Trio in C Major (1925)

Alexis de Castillon
  • Trio No.1 in B-flat Major, Op. 4

Aureliano Cattaneo
  • Piano Trio No. 2 (2007)

Cécile Chaminade
  • Trio No. 1 in g Minor, Op. 11
  • Trio No. 2 in a Minor, Op. 34

Sebastian Chang
  • Piano Trio (2004)

Eric Chasalow
  • Piano Trio 'Yes, I Really Did' (1998)

Ernest Chausson
  • Piano Trio in g minor, Op. 3

Frédéric Chopin
  • Piano Trio in g minor, Op. 8

Rebecca Clarke
  • Piano Trio (1921)

Rhona Clarke
  • Piano Trio 'Dunsandle' (1989)

Stephen Cohn
  • Piano Trio 'Anticipation of Light' (2004)

Aaron Copland
  • Vitebsk: Study on a Jewish Theme for Piano Trio (1928)
  • Prelude for piano trio

Frank Corcoran
  • Piano Trio (2007)

Richard Cornell
  • Piano Trio 'Triple Helix' (1999)

Allan Crossman
  • Piano Trio 'Icarus' (2006)

Glenn Crytzer
  • Piano Trio 'Explorations' (2006)

Carl Czerny
  • Piano Trio No. 1 in E-flat, Op. 105
  • Piano Trio No. 2 in A, Op. 166
  • Piano Trio No. 3 in E, Op. 173
  • Piano Trio No. 4 in a minor, Op. 289
  • Trois Sonatines faciles et brillantes, Op. 104
  • Deux Trios brillans, Op. 211
  • Six Grand Potpourris for piano trio, Op. 212



D


Ram Da-Oz
  • Piano Trio (1963)

Ingolg Dahl
  • Piano Trio (1962)

Richard Danielpour
  • Piano Trio 'A Child's Reliquary' (2000)

Jean-Luc Darbellay
  • Piano Trio 'Empreintes' (1996)

Mario Davidovsky
  • Piano Trio 'Chaconne' (1972)

Claude Debussy
  • Piano Trio in g minor, L. 3 (1880)

Lex van Delden
  • Piano Trio, Op. 95 (1969)
  • Piano Trio II, Op. 114 (1988)

Edison Denisov
  • Trio, Op. 39 (1971)

Tamar Diesendruck
  • Piano Trio (2001)

Albert Dietrich
  • Second Trio in A Major, Op. 14

Jan van Dijk
  • Piano Trio (1950)

Ignacy Feliks Dobrzynski
  • Grand Trio in a minor, Op. 17

Sam Dresden
  • Piano Trio (1942)

Antonín Dvorák
  • Piano Trio No. 1 in B-flat major, B. 51
  • Piano Trio No. 2 in g minor, Op. 26/B.56
  • Piano Trio No. 3 in f minor, Op. 65/B.130
  • Piano Trio No. 4 in e minor ("Dumky"), Op. 90/B. 166



E


John Eaton
  • Piano Trio (2006)

Horst Ebenhoh
  • Piano Trio (1973)

Anton Eberl
  • Piano Trio (formerly Mozart K. 291)

Klaus Egge
  • Piano Trio (1941)

Søren Nils Eichberg
  • Piano Trio (2003)

Ty Alan Emerson
  • Piano Trio (2002)

Sven Einar Englund
  • Trio (1982)

Kurt Erickson
  • Five Moments (1996)

Gabriel Erkoreka
  • Piano Trio 'Aldakiak' (2007)

Ivan Eröd
  • Trio No. 1, Op. 21 (1976)
  • Trio No. 2, Op. 42 (1982)



F


Gareth Farr
  • Piano Trio 'Ahi' (2006)

Gabriel Fauré
  • Piano Trio in d minor, Op. 120

Zdenek Fibich
  • Trio in f minor (1872)

Vivian Fine
  • Piano Trio (1980)

Michael Finnissy
  • Piano Trio 'Independence Quadrilles' (1982)

Graham Fitkin
  • Piano Trio 'Lens' (2006)

Josef Bohuslav Foerster
  • Trio No. 1 in f minor, Op. 8
  • Trio No. 2 in B-flat Major, Op. 38

Arthur Foote
  • Piano Trio No. 1 in c minor, Op. 5
  • Piano Trio No. 2 in B-flat major, Op. 65

Ron Ford
  • Piano Trio 'Brandelli' (1989)

LGeza Frid
  • Piano Trio (1947)

Philip Fried
  • Piano Trio (1984)

Joel Phillip Friedman
  • Piano Trio 'Extreme Measures' (1997)

James Friskin
  • Piano Trio (1908)

Gunnar de Frumerie
  • Trio No. 2, Op. 45 (1952)

Robert Fuchs
  • Piano Trio in C major, Op. 22
  • Piano Trio in B-flat major, Op. 72

Sandro Fuga
  • Piano Trio (1941)



G


Niels Wilhelm Gade
  • Trio, Op. 42 (1863)

Remaud Gagneux
  • Piano Trio (1976)

Hans Gál
  • Variations on an Old Viennese Heurigen Melody, Op. 9

German Galynin
  • Trio (1947)

Lucija Garuta
  • Trio in B-flat Major (1948)

Anthony Gatto
  • Piano Trio 'Bakken' (2001)

Harald Genzmer
  • Piano Trio in F Major

Fritz Geissler
  • Piano Trio (1970)

Armando Gentilucci
  • Piano Trio 'Crescendo' (1971)

Harald Genzmer
  • Piano Trio (1943)

Roberto Gerhard
  • Piano Trio (1918)

Friedrich Gernsheim
  • Piano Trio No. 1 in F Major, Op. 28
  • Trio No. 2 in B Major, Op. 37

Giorgio Federico Ghedini
  • Due Intermezzi (1915)

Mikhail Gnessin
  • Piano Trio (1947)

Benjamin Godard
  • Piano Trio No. 2 (1884)

Hugo Godron
  • Piano Trio (1948)

Alexander Goehr
  • Piano Trio (1966)

Hermann Goetz
  • Piano Trio in g minor, Op. 1

Carl Goldmark
  • Trio No.1, B-flat major, Op. 4
  • Trio No.2, E minor, Op. 33

Rubin Goldmark
  • Trio in d minor, Op. 1

Jonathan Golove
  • Bad Dreams (2001)

Gordon Goodwin
  • Piano Trio 'Swing Through Time' (2001)

Stephen Gorbos
  • Piano Trio 'Anspielen' (2006)

Mark Gould
  • Piano Trio No. 2 (2000)

Enrique Granados
  • Piano Trio, H. 140

Philip Grange
  • Piano Trio 'Homage to Chagall' (1995)

Alexander Gretchaninov
  • Piano Trio No. 1 in c minor, Op. 38 (1906)
  • Piano Trio No. 2 in G major, Op. 128 (1931)

Edvard Grieg
  • Andante con moto in c minor, BoSE 137 (1878)

Jon Jeffrey Grier
  • Piano Trio 'rondoids' (2003)

Odd Gruner-Hegge
  • Piano Trio (1923)



H


Daron Hagen
  • Piano Trio No. 1: Trio Concertante (1984)
  • Piano Trio No. 2: J’entends (1986)
  • Piano Trio No. 3 : Wayfaring Stranger (2006)
  • Piano Trio No. 4 : Angel Band (2007)

John Harbison
  • Piano Trio (2005)

Ross Harris
  • Piano Trio 'Senryu' (2007)

Roy Harris
  • Piano Trio (1934)

Tibor Harsanyl
  • Piano Trio (1926)

Franz Joseph Haydn
  • Piano Trios, H XV 1-40

Bernard Heiden
  • Piano Trio (1936)

Stephen Heller
  • Intermezzo in E Major (1842)

Robert Helps
  • Piano Trio (2004)

Mikko Heinio
  • Piano Trio (1988)

Adolf von Henselt
  • Trio in a minor, Op. 24

Hans Werner Henze
  • Adagio (1993)
  • Kammersonate (1990)

Jennifer Higdon
  • Piano Trio (1990)

Matthew Hindson
  • Piano Trio (2007)

Cheryl Frances Hoad
  • Piano Trio 'Melancholia' (2007)

Trevor Hold
  • Piano Trio (2000)

Samuel Holloway
  • Piano Trio 'Stapes' (2007)

Joel Hoffman
  • Piano Trio No. 2 'Lost Traces' (2003)

Joan Huang
  • Piano Trio 'Remembering South River Land' (2000)

Hans Huber
  • Eine Bergnovelle (after E. Zahn's "Bergvolk", Trio No. 4, Op. 120)

Johann Nepomuk Hummel
  • Piano Trio No. 1 in E-flat major, Op. 12
  • Piano Trio No. 2 in F major, Op. 22
  • Piano Trio No. 3 in G major, Op. 35
  • Piano Trio No. 4 in G major, Op. 65
  • Piano Trio No. 5 in E major, Op. 83
  • Piano Trio No. 6 in E-flat major, Op. 93
  • Piano Trio No. 7 in E-flat major, Op. 96

Miriam Hyde
  • Fantasy Trio in b minor, Op. 26 (1933)

Thomas Hyde
  • Piano Trio 'Three Dancers' (2007)

Lee Hyla
  • Piano Trio (2005)



I


Andrew Imbrie
  • Piano Trio (1946)

Vincent d'Indy
  • Piano Trio No. 2, Op. 98

Michael Ippolito
  • Piano Trio 'Double Passacaglia' (2006)

John Ireland
  • Phantasy-Trio (1906)
  • Piano Trio No. 2 in e minor (1917)
  • Piano Trio No. 3 (1938)

Miloslav Istvan
  • Piano Trio (1958)

Vera Ivanova
  • Piano Trio 'Fragments' (2002)

Charles Ives
  • Piano Trio, S. 86 (1911)



J


Adrián Jack
  • Piano Trio (1992)

Gordon Jacob
  • Piano Trio (1959)

Pierre Jalbert
  • Piano Trio (2002)

Leos Janacek
  • Piano Trio (1908) [lost]

Tadensz Jarecki
  • Piano Trio, Op. 11 (1943)

Joseph Jellinek
  • Piano Trio, Op. 10

Knud Jeppesen
  • Piano Trio (1957)

Wang Jie
  • Piano Trio 'Shadow' (2006)

Evan Johnson
  • Piano Trio 'Via Crucis' (1996)

Thomas Hewitt Jones
  • Piano Trio 'Cantus and Fugue' (2000)

John Joubert
  • Landscapes for soprano and piano trio, Op. 129

Paul Juon
  • Trio No.1 in a minor, Op. 17
  • Trio-Caprice on Selma Lagerlof’s ‘Gosta Berling’ in b minor, Op. 39 [Trio No.2]
  • Trio No. 3 in G Major, Op. 60
  • Litaniae / Tone Poem [Trio No. 4] in c-sharp minor, Op. 70
  • Legend [Trio No. 5] in d minor, Op. 83
  • Suite in C Major, Op. 89



K


Jindrich Kaan z Albestu
  • Trio No. 2 in g minor, Op. 29

Pal Kadosa
  • Piano Trio (1956)

Mauricio Kagel
  • Trio No.1 in three movements (1984)
  • Trio No. 2 in one movement (2001)

Armin Kaufmann
  • Piano Trio (1958)

Christopher Kaufman
  • Piano Trio 'Madrigal for Spring' (1997)

Hugo Kaun
  • Trio No. 1 in B-flat, Op. 32 (1896)
  • Trio No. 2 in c minor, Op. 58 (1904)

Donald Keats
  • Piano Trio 'Revisitations' (1992)

Daniel Kellogg
  • Piano Trio 'Ora Perpetuo' (2003)

Rudolf Kelterborn
  • Piano Trio 'Fantasia' (1967)

Martin Kennedy
  • Piano Trio 'Stanislas' (1996)

Harrison Kerr
  • Piano Trio (1938)

Otto Ketting
  • Piano Trio (1988)

John King
  • Piano Trio No. 1 (1977)

Leon Kirchner
  • Trio (1954)
  • Trio No. 2 (1993)

Theodor Kirchner
  • Novelletten, Op. 59

Victor Kissine
  • Piano Trio (1994)

Giselher Klebe
  • Piano Trio, Op. 22 (1955)

Richard Klein
  • Piano Trio 'Fantasia' (1974)

Peter Knell
  • Piano Trio No. 1 (1999)

Sven-Ingo Koch
  • Piano Trio (2006)

Joonas Kokkonen
  • Piano Trio (1989)

Aviya Kopelman
  • Piano Trio (2003)

Nikolai Korndorf
  • Piano Trio (1991)

Erich Korngold
  • Piano Trio (1909)

Olli Kortekangas
  • Piano Trio 'Charms' (1998)

Hans Kox
  • Piano Trio (1976)

Leopold Kozeluch
  • Piano Trio, Op. 12

Jonathan Kramer
  • Piano Trio 'Surreality Check' (1998)

Bjørn Kruse
  • Locus Scherzo for Piano Trio (2000)

Rafael Kubelik
  • Trio concertante (1988)

Toivo Kuula
  • Piano Trio (1979)



L


Osvald Lacerda
  • Piano Trio (1969)

Ezra Laderman
  • Piano Trio (1959)

Kenneth LaFave
  • Piano Trio 'American Avenues' (2006)

László Lajtha
  • Trio concertante, Op. 10 (1928)

Édouard Lalo
  • Piano Trio No. 1 in c minor, Op. 7
  • Piano Trio No. 2 in b minor (Ode on Music “Descend, ye Nine?”)
  • Piano Trio No. 3 in a minor, Op. 26

Noel Lee
  • Piano Trio (1959)

Rene Leibowitz
  • Piano Trio (1950)

Thomas Oboe Lee
  • Piano Trio No. 1 (1994, rev. 2000)

Ernst Ludwig Leitner
  • Tempus edax rerum (1994)

John Lessard
  • Piano Trio (1966)

Andrew Lewis
  • Piano Trio 'Tracking' (1990)

Peter Tod Lewis
  • Piano Trio (1960)

Lowell Liebermann
  • Piano Trio No. 1, Op. 32 (1990)
  • Piano Trio No. 2, Op. 77 (2001)

Franz Liszt
  • Rhapsodie Hongroise No. 9 - Le Carnaval de Pesth [S. 379]
  • Orpheus: Symphonic Poem
  • Piano Trio la Lugubre Gondola (1882)

Henry Charles Litolff
  • Piano Trio No. 1 in d minor, Op. 47
  • Piano Trio No. 2, Op. 56
  • Piano Trio No. 3 in c minor, Op. 100

David Little
  • Piano Trio (2003)

Heinz Martin Lonquich
  • Piano Trio II (2005)

Theo Loevendie
  • Piano Trio 'Ackermusik' (1997)

Pei Lu
  • Piano Trio 'Ballad of the Great Wall' (2005)

Withold Lutoslawski
  • Piano Trio (1980)

Gilda Lyons
  • Piano Trio 'Elements and Offertories' (2006)

Hannes Löschel
  • Frogs for Piano Trio (2000)



M


Artur Malawski
  • Trio in C-sharp (1953)

Gian Francesco Malipiero
  • Sonata a tre (1927)

Tigran Mansurian
  • Five Bagatelles (2000)

Frank Martin
  • Trio sur des mélodies polulaires irlandaises (1925)

Niels Marthinsen
  • Piano Trio (2001)

Bohuslav Martinu
  • Piano Trio No. 1 (Cinq pièces brèves), H. 193
  • Piano Trio No. 2 in d minor, H. 327
  • Piano Trio No. 3 in C major, H. 332
  • Bergerettes (5) for piano trio, H. 275

Giuseppe Martucci
  • Trio No.1 in C Major, Op.59

Charles Mason
  • Piano Trio 'Three-Legged Race' (2000)

Joseph Mayseder
  • Trio No. 4 in G Major, Op.59

Eunan McCreesh
  • Piano Trio 'The Famished Road' (1998)

John McDonald
  • Piano Trio 'Calpentyn Alternatives' (2004)

Dosia McKay
  • Danse Macabre (2007)

Paul Mealor
  • Borderlands (2004)

Ludwig Meinardus
  • Trio in a minor, Op. 40

Marc Mellits
  • Piano Trio 'Fruity Pebbles' (2004)

Fanny Mendelssohn
  • Trio in d minor, Op. 11

Felix Mendelssohn
  • Piano Trio No. 1 in d minor, Op. 49 (1839)
  • Piano Trio No. 2 in c minor, Op. 66 (1845)

Krzysztof Meyer
  • Trio, Op. 50 (1980)

Georges Migot
  • Piano Trio (1935)

Darius Milhaud
  • Piano Trio, Op. 428 (1969)

Christina Mitchell
  • Piano Trio (2001)

Ernest Moeran
  • Piano Trio in e minor (1942)
  • Piano Trio in D major (1944)

Douglas Moore
  • Piano Trio (1953)

Paul Moravec
  • Piano Trio 'Mood Swings' (1999)

Ennio Morricone
  • Distanze(1958)

Harold Morris
  • Piano Trio No. 2 (1937)

Wolfgang Amadeus Mozart
  • Piano Trio No. 1 in B-flat major, K. 254
  • Piano Trio No. 2 in G major, K. 496
  • Piano Trio No. 3 in B-flat major, K. 502
  • Piano Trio No. 4 in E major, K. 542
  • Piano Trio No. 5 in C major, K. 548
  • Piano Trio No. 6 in G major, K. 564
  • Divertimento B-flat Major, K. 254
  • Allegro d minor, K. 442/1 (1783?)
  • Andantino G Major, K. 442/2 (1783?)
  • Allegro D Major, K. 442/3 (1783?)
  • Fragment B-flat Major, K. 501a (1786)

Robert Muczynski
  • First Piano Trio, Op. 24 (1966)
  • Second Piano Trio, Op. 36 (1975)
  • Third Piano Trio, Op. 46 (1986)

Herman Mulder
  • Piano Trio, Op. 137 (1965)

Jeffrey Mumford
  • Piano Trio 'in the community of encompassing hours' (2007)

John Musto
  • Piano Trio (2005)

David Myska
  • Piano Trio 'Scorpion' (1994)



N


Bongani Ndodana
  • Piano Trio 'Ceremonies and Tongues' (1998)

Dika Newlin
  • Piano Trio (1948)

Willem Wander van Nieukerk
  • Piano Trio (2008)

Marlos Nobre
  • Piano Trio (1960)

H. H. Nordstrøm
  • Following the Wake for Piano Trio (2005)
  • Cantos al Amor (2007)

Ib Norholm
  • Piano Trio (1959)

Vítezslav Novák
  • Piano trio in g minor, Op. 1
  • Piano trio in d minor ‘Quasi una ballata’, Op. 27

Per Nørgaard
  • Piano Trio 'Spell' (1974)



O


Andrej Ocenas
  • Trio, Op. 36 (1967)



P


Christian Palmer
  • Piano Trio No. 1 in E-flat major (1866)
  • Piano Trio No. 2 in A major
  • Piano Trio No. 3 in F major
  • Piano Trio No. 5 in C major

Andrzej Panufnik
  • Piano Trio (1945 reconstructed, 1997 revised)

Arvo Pärt
  • Mozart - Adagio for piano trio

Andrián Pertout
  • Piano Trio 'Sonus dulcis' (2004)

Rudolf Petzold
  • Piano Trio, Op. 39 (1961)

Hans Pfitzner
  • Trio F Major, Op.8

John Pickard
  • Piano Trio (1990)

Gabriel Pierne
  • Piano Trio, Op. 45 (1922)

Willem Pijper
  • Piano Trio, Op. 7 (1914)

Werner Pirchner
  • Wem gehört der Mensch...? PWV 31 (1988)
  • Heimat? PWV 29a (1992)

Georg Pircmayer
  • Piano Trio 'Transition' (1956)

Felipe Pires
  • Piano Trio (1960)

Walter Piston
  • Piano Trio (1935)

Manuel Ponce
  • Piano Trio 'Romantico' (1941)

Mel Powell
  • Piano Trio (1994)



R


Sergei Rachmaninoff
  • Trio Elégiaque No.1 in g minor, Op. posth. (1892)
  • Trio Elégiaque No. 2 in d minor, Op. 9 (1893)

Joachim Raff
  • Trio No. 1 in c minor, Op. 102
  • Trio No. 2 in G major, Op. 112
  • Trio No. 3 in a minor, Op. 155
  • Trio No. 4 in D major, Op. 158

Erhard Ragwitz
  • Piano Trio (1965)

Osmo Tapio Raihala
  • Piano Trio 'Dialogues' (2003)

David Rakowski
  • Piano Trio (1985)

Maurice Ravel
  • Piano Trio in a minor (1914)

Alan Rawsthorne
  • Piano Trio (1962)

Camden Reeves
  • Piano Trio 'Starlight Squid' (2001)

Max Reger
  • Piano Trio in e minor, Op. 102 (1907)

Anton Reicha
  • Sonata in C major, Op. 47 (1804)
  • Six Trios Concertants, Op. 101 (1824)
  • Trio (1824)

Carl Reinecke
  • Piano Trio, Op. 188 (1887)

Otto Reinhold
  • Piano Trio (1915)

Franz Reizenstein
  • Piano Trio, Op. 34 (1957)

Konrad Rennert
  • Crossing the bar - Fraktur XIII (1997)

Josef Rheinberger
  • Piano Trio in d minor, Op. 34 (1862)
  • Piano Trio in A major, Op. 112 (1878)
  • Piano Trio in B-flat major, Op. 121 (1880)
  • Piano Trio in F major, Op. 191 (1898)

Josef Rheinberger
  • Piano Trio No. 3, Op. 121 (1881)

Wallingford Riegger
  • Piano Trio, Op. 1 (1919)

Ferdinand Ries
  • Piano Trio in c minor

Robert Rival
  • Piano Trio (2005)

George Rochberg
  • Piano Trio (1963)

Kurt Roger
  • Trio in E-flat major, Op. 77 (1953)

Julius Röntgen
  • Piano Trio No. 1 B-flat Major, Op. 23 (1883)
  • Piano Trio No. 2 in D major (1898)
  • Piano Trio No. 3 in g minor (1898)
  • Piano Trio No. 4 in c minor, Op. 50 (1904)

Michael Rosenzweig
  • Piano Trio (2000)

Nikolai Roslavets
  • Piano Trio No. 1 (1919)
  • Piano Trio No. 2 (1920)
  • Piano Trio No. 3 (1921)
  • Piano Trio No. 4 (1927)

Albert Roussel
  • Piano Trio in E-flat major, Op. 2

Edmund Rubbra
  • Piano Trio in One Movement, Op. 68 (1950)
  • Piano Trio No. 2, Op. 138 (1970)

Anton Rubinstein
  • Piano Trio No. 1 in F major, Op. 15 No. 1
  • Piano Trio No. 2 in g minor, Op. 15 No. 2
  • Piano Trio No. 3 in B-flat, Op. 52
  • Piano Trio No. 4 in A, Op. 85
  • Piano Trio No. 5 in c minor, Op. 108

Joseph Ryelandt
  • Piano Trio No. 1 in b minor, Op. 57 (1915)
  • Piano Trio No. 2, Op. 131 (1944)



S


Camille Saint-Saëns
  • Piano Trio No. 1 in F major, Op. 18 (1863)
  • Piano Trio No. 2 in e minor, Op. 92 (1892)
  • Le Carnaval des Animaux (1886)

Alfredo Sangiorgi
  • Tre invenzioni (1947)

Maurice Saylor
  • Piano Trio 'Terse Metamorphosis' (2004)

Philipp Scharwenka
  • Trio No.1 in c-sharp minor, Op. 100

Xavier Scharwenka
  • Trio No. 1 in f-sharp minor, Op. 1
  • Trio No. 2 in a minor, Op. 45

Martin Scherzinger
  • Piano Trio 'Across the Dancing Ground' (1997)

Karl Schiske
  • Sonatina, Op. 34 (1952)

Helmut Schmidinger
  • ... schickt sich wahrscheinlich nicht in einem so ernsten Konzert. (2003)

Tobias Schneid
  • Pianotrio No. 2 (2007)

Alfred Schnittke
  • Piano Trio (adapted in 1992 from string trio (1985))

Daniel Schnyder
  • Piano Trio (2003)

Arnold Schoenberg
  • Transfigured Night, Op. 4
  • Sonnet CCXVII by Petrarch (Op. 24/IV)

Paul Schoenfield
  • Cafe Music

Robert Schollum
  • Halbturn Evening Music, Op. 95 (1975)

Franz Schubert
  • Piano Trio #1 in B-flat major, D. 898
  • Piano Trio #2 in E-flat major, D. 929
  • Piano Trio in B-flat major ‘Sonatensatz’, D. 28
  • Piano Trio in E-flat major ‘Nocturne’ (Adagio only), D. 897
  • 16 German Dances and 2 Ecossaises, Op. 33 / D. 783

Philip Schuessler
  • Piano Trio 'One More Moment' (2000)

Clara Schumann
  • Trio in g Minor, Op. 17

Robert Schumann
  • Piano Trio No. 1 in d minor, Op. 63
  • Piano Trio No. 2 in F major, Op. 80
  • Piano Trio No. 3 in g minor, Op. 110
  • Fantasiestücke in a minor, Op. 88
  • 6 Stücke in canonischer Form, Op. 56

Joseph Schwantner
  • Piano Trio 'Autumn Canticles' (2005)

Elliott Schwartz
  • Piano Trio 'Tapestry' (1966)

Friedrich Schwarzacher
  • Trio 47/99

Kurt Schwertsik
  • Bagatellen in stark wechselnder Laune, Op. 36 (1979)

Leif Segerstam
  • Trio No. 2 'Thoughts in One Movement' (2003)

Ralph Shapey
  • Piano Trio (1953-5)

Gerald Shapiro
  • Piano Trio (1990)
  • Piano Trio 'For Martin' (1995)
  • Piano Trio No. 2 (2003)

Vache Sharafyan
  • Piano Trio No. 2 'Dream of Dreams' (2003)

Judith Shatin
  • Piano Trio 'View from Mt. Nebo' (2004)

Vissarion Shebalin
  • Trio in a minor, Op. 39 (1946)

Bright Sheng
  • Piano Trio (2001)

Michael Sheppard
  • Piano Trio (2006)

Seymour Shifrin
  • Piano Trio (1974)

Dmitri Shostakovich
  • Piano Trio No. 1 in c minor, Op. 8 (1923)
  • Piano Trio No. 2 in e minor, Op. 67 (1944)

Jean Sibelius
  • Piano Trio No. 1 in a minor (1884)
  • Allegro for Piano Trio (1886)
  • Piano Trio No. 2 in a minor ‘Havträsk’ (1886)
  • Piano Trio No. 3 in D major (1887)
  • Andantino for Piano Trio (1888)
  • Piano Trio No. 4 in C major ‘Loviisa’ (1888)

W. Siegel
  • Piano Trio 'Rapids' (2006)

Adam Silverman
  • Piano Trio 'Sturm' (2002)

Pwyll ap Siôn
  • Piano Trio (1995)

Bedrich Smetana
  • Piano Trio in g minor, Op. 15

Julia Smith
  • Piano Trio (1966)

Linda Catlin Smith
  • Piano Trio 'Ribbon' (2001)

Jose Soler
  • Piano Trio (1963)

Mauricio Sotelo
  • Piano Trio (2007)

Rick Sowash
  • Four Piano Trios (2000)

Leopold Spinner
  • Piano Trio (1955)

Benjamin Staern
  • Piano Trio (2004)

Victor Steinhardt
  • Piano Trio (1998)

Richard Strauss
  • Piano Trio No. 1 in A major, Op. 37
  • Piano Trio No. 2 in D major, Op. 53

Josef Suk
  • Piano Trio in c minor, Op. 2
  • Elegie for Piano Trio, Op. 23

Georgy Sviridov
  • Trio a minor, Op. 61

Bent Sørensen
  • Piano Trio 'Phantasmagoria' (2007)



T


Jenö Takács
  • Trio-Rhapsodie, Op. 11

Toru Takemitsu
  • Between tides (1993)

Sergei Taneyev
  • Piano Trio in D major, Op. 22

Alexandre Tansman
  • Trio No. 2 (1939)

Alexandr Tcherepnin
  • Piano Trio (1925)

Boris Tchaikovsky
  • Trio in D Major (1953)

Pyotr Ilyich Tchaikovsky
  • Piano Trio in a minor, Op. 50

Aleksandr Georgievitch Tchugaev
  • Trio (1975/79)

Sigismond Thalberg
  • Trio in A major, Op. 69

Augusta Read Thomas
  • Piano Trio 'a circle around the sun' (2000)

Antoine Tisne
  • Piano Trio (1973)

Vladimir Tošic
  • Piano Trio 'Varial' (1990)

Donald Tovey
  • Piano Trio (1910)

Joan Tower
  • Piano Trio 'For Daniel' (2008)
  • Piano Trio 'They're Off' (1997)

Arlene Seirra Truel
  • Piano Trio (1995)

Joaquín Turina
  • Piano Trio No. 1, Op. 35
  • Piano Trio No. 2 in b minor, Op. 76
  • Circulo for Piano Trio, Op. 91

Mark-Anthony Turnage
  • A Short Procession, for Piano Trio (2003)



U


Alfred Uhl
  • Piano Trio (1975)

Nicholas Underhill
  • Piano Trio (2005)

Erich Urbanner
  •  ...in Bewegung...’ Trio (1990)



V


Fartein Valen
  • Piano Trio, Op. 5 (1924)

Peteris Vasks
  • Episodi e Canto Perpetuo (1985)

David Vayo
  • Piano Trio (1998)

Octavio Vazquez
  • Piano Trio No. 1 'Guernica' (1995)

Antonio Veracini
  • Piano Trio (1973)

Sandor Veress
  • Tre quadri (1963)

Heitor Villa-Lobos
  • Piano Trio (1911)

Pancho Vladigerov
  • Trio b-flat minor, Op. 4 (1916)

Ernst Vogel
  • Piano Trio (1971)

Kevin Volans
  • Piano Trio (2003)

Robert Volkmann
  • Piano Trio, Op. 3 (1917)



W


Andrew Waggoner
  • Piano Trio (2007)

Orianna Webb
  • Piano Trio (2007)

Karl Weigl
  • Trio (1938)

Douglas Weiland
  • Trio in one movement, Op. 22
  • Pavey Ark (Trio No. 2), Op. 32

Mieczyslaw Weinberg
  • Piano Trio, Op. 24

Judith Weir
  • Piano Trio (1998)

Stefan Weisman
  • Piano Trio (1991)

Harri Wessman
  • Piano Trio No. 2 'Retorinen' (1992)

Kenny Wheeler
  • A Little Peace for Piano Trio (2002)

Gillian Whitehead
  • Piano Trio (2004)

Hermann Wichmann
  • Trio in E-flat Major, Op. 10

Ernst Widmer
  • A Ultima Flor, Op. 60 (1968)

Charles Widor
  • Piano Trio in B-flat major, Op. 19 (1875)

Benjamin Williams
  • Piano Trio (2000)

Ian Wilson
  • Piano Trio No. 3 (1996)

Christian Wolff
  • Piano Trio 'I Like to Think of Harriet Tubman' (1985)

Charles Wuorinen
  • Piano Trio (1983)



Y


Isang Yun
  • Trio (1972/75)



Z


Roger Zahab
  • Piano Trio 'Transparence' (2000)

Judith Lang Zaimont
  • Piano Trio 'Zones' (2003)

Arlene Zallman
  • Piano Trio 1999 (2000)

Frank Zappa
  • Piano Trio (1987)

Bernd Alois Zimmerman
  • Piano Trio 'Presence' (2005)

Evan Ziporyn
  • Piano Trio (2005)

Djuro Zivkovic
  • Piano Trio (2001)

Ricardo Zohn-Muldoon
  • Piano Trio 'Jacara' (2007)

Ellen Taaffe Zwilich
  • Piano Trio

Otto Zykan
  • G-kettet (1996)
  • Drei Bagatellen (1998)



    Trio Con Brio
  • Soo-Jin Hong, violin
  • Soo-Kyung Hong, cello
  • Jens Elvekjaer, piano



Friday, February 1, 2008

01 Feb 08

Question Time

Sweetest Sin wrote: How is life back in the real world and away from the 'safety' of cell block H? Is it everything you hoped or is it a bit of a let down? What are your plans? is everyone stood around waiting to catch you or are they waiting for you to soar like an eagle? Must feel a touch strange for everyone.

Life is a struggle, but when challenged I am in my element. I was knocked down and I am working hard on building my life back up again. Like Doctor O pointed out, I am on a journey down a long hard road that’s going to get me where I need to be.

For the month and a half I have been out of prison, the real world has welcomed me with open arms. The hospitality of my parents, family and friends has exceeded my expectations. Not being subject to prison conditions continues to instill a natural high. The quality of my life ratcheted up, and now I am contemplating further improvements. My plan is to stay with my parents for six months or so, and then to get my own place. Whether I’ll only have the resources to get something in my hometown, or I’ll be able to move to a city is yet to be determined. At heart I am a city dweller. I fancy Manchester or London. I don’t think I’ll feel fully settled until I have my own place.

People who know me expect me to quickly rebuild my life. So far, my mum’s concern that I would suffer a mental breakdown adjusting to freedom appears to be unwarranted.

By concentrating on writing I am hoping to bring my story and those of my prisoner friends to a wider audience. I am giving it my all, and there should be some developments I can share with you soon.

My day revolves around my writing regime. I get up at ten and eat either cheese on toast or beans on toast. Around eleven I start to write, stopping only to eat, exercise, and shower. By evening, I’ve usually reached my writing goal for the day, so I move on to emails and phone calls. I feel lucky that so many people have sought me out to wish me well. Some nights I watch movies or episodes of the Sopranos with my parents. Before I go to bed I listen to lectures from The Teaching Company. I just finished a series on Nietzsche. I go to bed around one in the morning.

I write on the weekends too. But I try to get out and about on those evenings, visiting the local pubs with Hammy and our friends. I do this for a social life. I don’t stay out all night partying hard. Sometimes I go to restaurants, and next week I am going to the Playhouse in Liverpool to watch Kafka’s Metamorphosis.

Many prisoners have no family or friends to be released to, so I am lucky to be able to live in my parents’ home. It is such a different environment than what I am used to, so it does at times feel strange and lonely. I am getting more used to it though. This environment is conducive to writing, and I am dedicated to moving my literary projects forward. By keeping my mind occupied, I allow little space for depressed thoughts. I am forward focussed, and I am pleased with the progress I am making.

Jose in San Diego wrote: Is there any chance at all that you may be allowed a temporary visa in the future to return to the States, say perhaps for a TV interview or an appearance on a talk show? (hypothetically speaking). Please let me know. Thank you.

I don’t see that happening in the near future. I would eventually like to be able to return to America. I am going to email my attorney to find out what it would take. As it stands I am banned for life because I have aggravated felonies. If I returned illegally and I were caught I would have to finish my prison sentence, which equates to doing four more years in the Arizona Department of Corrections. Not something I fancy.

Email comments to writeinside@hotmail.com or post them below

Copyright © 2007-2008 Shaun P. Attwood
01 Feb 08

Prison Gangs

Dirtos asked about the gangs in prison, so here’s some information issued by the State of Arizona on gangs considered to be STGs (Security Threat Groups) in the prison system.

Arizona Aryan Brotherhood

Membership - Approximately 386 members

Common Tattoos - "Aryan Brotherhood", "AB"

Racial make up - Caucasian

Prison Criminal Activity - Narcotics, Extortion, Assaults, Homicides and Gambling.

Specific Tattoo/Symbolism will usually be the words "Aryan Brotherhood" or the letters "AB"

Trends

Recruitment of the most influential Skinheads. Eradicating their ranks of sex offenders & members who have not B.I. Increase recruitment to load up our lock-up facilities. Talk of infiltrating defectors & PS housing to assault inmates. Challenge the validation process in court. Terrorist type retaliation against ADC staff

AB By Laws

OATH

I swear my loyalty exclusively to * * * . To protect the family and promote it's goals with the resources available to me at all times. I will honor the family laws, bringing respect to all kindred through my actions. My life is this and this is for life, my oath being given it shall not be broken.

COUNCIL

There will be a council consisting of (3) kindred. This council will reside where the largest concentration of family exists.
The council will establish and maintain the direction of the family by receiving input from kindred and enforcing the will of the majority . All major issues will be determined by majority vote conducted by council, no minority may control the direction of the whole.
The council will address all issues brought before it, including but not limited to, finances, grievances and disciplinary issues and resolve them in the light best suited to promote the goals of the family as a whole.
The council will control and determine how family funds are to be utilized.
Sub-councils may be established in other areas as needed for organizational purposes but must respect the direction established by the council.
Any councilman may be impeached by vote.

KINDRED

All kindred must swear their loyalty exclusively to the family, placing no thing before it in his priorities. No one shall be acknowledged as kindred until such time as he has read these laws and sworn his oath.
These laws are to be known to kindred only.
All kindred must conduct themselves by example at all times exemplifying the best qualities our folk have to offer; intelligence, loyalty, pride, righteousness and strength.
Kindred must continually strive to promote the goals of the family no matter where they are, inactivity will not be tolerated on any level.
Kindred shall assist each other in any way possible but no kindred shall exploit this generosity in any way.
No kindred may act in any manner to bring shame, disgrace or contempt to himself or family.
No kindred may act to diminish any other kindred in his person or possession except as a lawful sanction.
Kindred shall never disrespect or criticize each other in public.
Kindred shall not disagree in public unless absolutely unavoidable.
Kindred have a responsibility to communicate with each other in order to stay appraised of current goals and issues.
No kindred shall give information/disinformation to any outsider which can be harmful to family in any way, if situation is not definite, no information shall be given at all.

BAPTISM

Baptism is the priority goal for all kinfolk. They must seek baptism at earliest opportunity, failure will result in major sanction.
Until such time kinfolk are baptized they shall not be permitted to initiate progeny, hold any position of authority or vote on any matter involving major sanctions.

PROJECTS/BUSINESS

All projects/business will be conducted on a need to know basis.
No pacts or business shall be honored within the family or with outsiders unless the terms are compatible with our law.
No business shall be conducted by any folk, including kindred, without contributing to the family. This contribution shall be the maximum allowable percentage of the interest, without causing bankruptcy, up to 25%.
Any business financed by family funds retains 75% of the interest in that business and may pay individual(s) 25% interest to maintain that business.

PROGENY

Kindred shall only initiate progeny to promote the goals of the family.
Kindred shall initiate only (1) progeny at a time but may adopt another kindred's progeny based on location convenience.
Kindred are responsible for the actions of their progeny.
Abuses of this privilege will result in sanctions.
Kindred must make his progeny aware of his responsibilities immediately upon birth, the progeny must commit to these responsibilities.
Progeny must, whenever opportunity presents itself:
Check out, orientate and evaluate the potential of all folk in his area.
Cache toys for immediate availability to kindred.
Initiate businesses or projects to stimulate capital for family.
Send $25 a month to lockdown.
Support kindred under any circumstance.
Follow any order by any kindred.
Be prepared for baptism.
Progeny life is a minimum of (2) years.
There may be a baptism prior to completion of progeny term to be applied upon successful completion of term.
Upon completion of successful baptism which is directly related to family interest with sufficient immersion, consideration for progeny as kindred will be based on a demonstration of ones ability to promote the goals of the family.
No kindred will be recognized except by completion of responsibilities and majority vote.

SANCTIONS

Sanctions will be imposed on any kindred who fails to uphold their responsibilities. Appropriate sanctions will be determined on a case by case basis and will be applied as consistent as possible.
Major sanctions will be imposed for the following: a) Treason or betrayal. b) Any act committed where a reasonable person should have known would cause substantial harm to the family. c) Kindred who use the family to promote personal agendas. d) Kindred who participate in homosexual acts. e) Kindred who suspend a baptism based on financial, personal or lockdown considerations.
Minor sanctions shall be imposed for violation(s) of law which may include but are not limited to: fines, restitution, loss of privileges, skin ups or other appropriate actions, to be determined by majority and enforced by the council.
A person is no longer recognized as kindred immediately upon finding of guilt of major sanction charge.

AMENDMENTS

Amendments to these laws may be adopted by the council as needed to promote the changing goals of the family.

Border Brothers

Membership - Approximately 418 members

Common Tattoos - A Border Brother, BB, Aztec drawing of sun with 8 large flames and 8 small flames, has an Aztec God symbol in center with BB at top.

Racial make up - Mexican Nationals

Prison Criminal Activity - Narcotics, Extortion, Assaults, Rioting and Gambling.

STG Specific Tattoo/SymbolismWill usually be an Aztec creature’s head encircled by flames with eight of the flames appearing longer than the others. And/or the words “Border Brothers” the letters “BB” and/or the number”22"

TrendsFastest growing STG. Highest membership. Most validated members. Being courted by OMM. Factional differences with Calif. Border Bros.

New Mexican Mafia

HISTORY OF THE ARIZONA NEW MEXICAN MAFIA

Around 1974, a group of Hispanic inmates at Arizona State Prison, Florence, formed a prison gang know as the Mexican Mafia. Arizona Department of Corrections officials at that time obtained information that this group pattered themselves after the California Mexican Mafia which had been in existence for several years. Several Hispanics who came into the Arizona Prison System brought the concept and philosophy of the California Mexican Mafia.

In 1978 the Mexican Mafia split into two organizations. One kept the original philosophy and structure and currently refer to themselves as the Original Mexican Mafia, "Califas Faction", "EME". The other, which came into prominence in 1984 and is the organization addressed in this workbook, refer to themselves as the New Mexican Mafia. Many assaults and murders of members of both groups have occurred as a result of each organization claiming the title of "Mexican Mafia" within the Arizona prison system.

Members of the New Mexican Mafia consider themselves autonomous with relation to the Original Mexican Mafia and the parent organization in California. They have created their own rules and regulations and have established an organizational structure. Each member is allowed to vote on issues regarding membership and leadership. The leader, approved by the members has the power to solely decide important issues (i.e., revoke present membership or reject new members) and may approve new members without an organization vote. As of the printing of this workbook, a few influential members are consulted on major issues by the leader. This may discontinue with a change of leadership.

Membership is comprised of inmates who have many years within the prison system, some were members of the Original Mexican Mafia, as well as first time offenders. Several newly recruited members have been identified as belonging to Hispanic street gangs throughout Arizona. Most members have been documented by law enforcement as having the New Mexican Mafia tattoo. All members are encouraged to wear it.

INTRODUCTION

The following reproduction of the Rules and Regulations of the Arizona New Mexican Mafia is verbatim as they exist. They were confiscated by the prison Special Security Team from a documented New Mexican Mafia member at Arizona State Prison Complex-Florence, Central Unit on 09-30-88. Two other identical documents have been found in the possession of documented members since the first confiscation. A list of Spanish to English translation have been included.

"OPENING BRIEF"

#13 THE ARIZONA MEXICAN MAFIA #13

The Arizona Mexican Mafia is an organization which must consist of certain reglas in order to maintain a certain amount of discipline within its structure. In order to keep a wall defined structure of what we believe in these reglas must be met with considerable thought and respect. And since this (LA EME), is going to be what we make it, then we must meet its causes with determination & full force in order to accomplish what is best for our survival, the survival of the "Mexican Mafia", and for what we believe in as a whole, for now and for our future. It must be realized that we are our future and its for our future that we should be most concerned about, for what we do now will reflect upon the future, the future must always be at mind. We’ll strive to meet our goals and in doing this, it is remembered to honor and exist within the scope of the reglas.

"SCOPE OF THE REGLAS"

"THE ARIZONA MEXICAN MAFIA"

I THE MAKING OF A CARNAL

When it’s become known amongst the carrnales that a specific person has the potential of becoming parte, and he meets the standards in which we believe in, then this person is capable of becoming a carnal. And should there be a vote and this person accepted, " or any person who has potential", then which ever carnal who introduced this person into the "EME’ carries no burden(s) for his future actions, if they may be vile, for we accepted as a whole so we must deal with it in this manner. It is not necessarily wise to approach a "prospect" ask if he’d like to became a carnal, if he has it in his heart to be parte then time will lead him our way. But there can be an exception; the exception being that all carnales, [on that yarda], be consulted and if agreed that person is or can be beneficial to our cause, "then that person can be approached".

II OUR INSIGNIA, THE MEXICAN MAFIA

This must always remain the same and should not change for any reason, and should exist throughout time without change.


III SHOWING YOUR CARNALISMO

This is an issue which must be looked at very closely, because without carnalismo we cannot accomplish our goals as a whole, and setbacks will be sure to arise. No carnal shall conspire or plot against any of the carnales for any reason, behind their back, Nor shall any carnal sell out his carnal[es] for greed or lust, for none of these reasons can possess the value of your carnal[es]. And for no reason shall a carnal present treachery on his behalf towards any carnal, for any reason’ since we are all carnals in the same, faith, trust and believing in one another is a must, even though some may vary. Faith in your carnal[es] is very important, it’s an ingredient which cannot be overlooked. It’s believing in him and what he stands for and in order to progress we must believe in ourselves & what we do. We’ve chosen our pattern of life, it’s only wise that we do it the best way we can.

IV SHARING OPINIONS

Each and every carnal has the right to speak his mind and share what he feels is right or beneficial to our organization, and in no way should this right be jeopardized. It’s only smart to check out every issue from all points of view, this right gives us that option.

V ALWAYS A CARNAL

Once a person becomes a carnal he is "Parte De La Mafia Mexicana Por Vida", that is his life time guarantee. You cannot become a carnal and then choose not to associate or be a part of "The Mexican Mafia", this will not be permitted, there are no revolving doors to walk in or out whenever we please.

VI FINANCIAL TREASURER

Upon a vote a certain carnal is to become "Our Financial Treasurer", and upon his request may have on [1] or two [2] more carnales to assist him with this jale. Those who carry on this jale are to be trusted in "every way", unless shown and proven otherwise. "This pertains to each pinta individually’. These funds are to be used solely for the "benefit and profit of the Mexican Mafia."

VII THE ROSE

It’s a special honor to be able to possess "The Rose", it reveals loyalty, and faith in what you believe in: True Carnalismo. And receiving the rose can only come by way of "Muerte", in this, showing your loyalty in what you believe in, "Por Vida". And for no other reason should anyone acquire the rose.

VIII WHEN RELEASED

Once a carnal is released from within the system, contact with his carnales inside the pinta should always be kept. Also contacting and associating with your carnal[es] out on libre is a mandatory issue also. The reason being, to organize and build a strong structure of what we believe in "The Mexican Mafia", our organization. When contacting or meeting with other carnales, a low profile should be exercised, for obvious reasons. The task force is aware of "The Mexican Mafia" and some of us who are involved, so a low profile and a good front should be kept, in order to prevent unnecessary harassment and possible incarceration by the law. Even though to prevent this may not be easy because of the task force full knowledge of the EME and it’s members. So it’s to be recognized that we are an organization and that’s how we must conduct ourselves, as organized figures. There’s different types of task forces but there’s one which deals in only "Gangs and Organizations" and this is the one we must be aware of and not underestimate their potentials. And also, financial foundations can be based on, [Scope of Regals IV], but pertaining to the free world.

IX FINAL DECISION OR VOTE

The final decision, or the deciding vote, is to be determined by [X] or [XX], with X in the highest. This was concluded by an election which took place with the majority of the carnales present and stands valid for all purposes, and is to be recognized and respected by all carnales.

X SECURED CONVERSATION[S]

When speaking of or about anything to do con la EME, it is mandatory that only carnales be present, no outsider is to hear what is to be said, this is strictly prohibited.

XI CONCLUSION

These are the "Reglas" which must be considered and respected in every way; in no way should they be abused or disregarded. All decisions for penalties of violation for these reglas are in the hands of the carnales, those there who witnessed or have full knowledge of the violation [s], committed by that carnal. For deciding vote or final decision refer to, [S.O.T.R.IX]...

English Translations

Spanish
English

Carnal
Brother

Carnales
Brothers

Carnalismo
Brotherhood

Con
With

EME
Mexican Mafia

Jale
Job

La
The

Libre
Free

Muerte
Death

Parte
Part of

Parte de la Mafia
Part of the Mexican

Mexicana Por Vida
Mafia for life

Pinta
Prison

Por Vida
For Life

Reglas
Rules

Yarda

Yard

THE NEW MEXICAN MAFIA TATTOOS

The following tattoo patterns were found during 1987-88 in various Arizona State prison facilities where members of the New Mexican Mafia have been incarcerated. The first pattern was confiscated by staff personnel at the Arizona State Prison Tucson facility. The second pattern was found in the Florence facility, 06-03-87, Central Unit during cell searches following the stabbing assault of suspected original Mexican Mafia member. Since that time, numerous patters have been found and confiscated. Twelve have been found in the Florence SMU facility where the majority of the New Mexican Mafia members are housed. Information received indicates that members are allowed to use their own creative individuality for the tattoo pattern, however all "Pachas" or patterns must have the skull, double "MM" and the flames around the circle. The double M. Must curve downward and cross at the bottom. This signifies that the member has crossed over from the original Mexican Mafia to the New Mexican Mafia, if he was a member of the former. The large flames are to lean counter-clockwise and be partially shaded. The small flames lean clockwise and are supposed to be completely shaded. The rose is considered the highest honor a member can obtain. It signifies that the member has successfully completed an assault on his "enemies".

Old Mexican Mafia

Membership - Approximately 60 members

Common Tattoos - "Two blocked M's with a skull and bat wings above"

Racial make up - Mexican American

Prison Criminal Activity - Narcotics, Extortion, Assaults, Homicides and Gambling.

STG Specific Tattoo/SymbolismWill usually be two M’s. Sometimes a skull with wings protruding from both sides of the skull located above the two M’s. And/or the words “Mexican Mafia” or “EME”

TrendsCourting alliances with the Border Bros., Grandel, and Southside Posse. Still has alliance with Calif./Federal EME

Grandel

Membership - Approximately 228 members

Common Tattoos - "Grandel" G with two swords.

Racial make up - Mexican Americans from Glendale, Arizona

Prison Criminal Activity - Narcotics, Extortion, Assaults, and Gambling.

STG Specific Tattoo/SymbolismWill usually be the word “Grandel”. Can also be the letter “G” which will sometimes have two swords encircling the “G”. Sometimes a cardinal will be used.

TrendsGrandel Mafia. Varrio Sixty-First (VSF) members forming internal group. Being courted for alliance with OMM

Mau Mau

Membership - Approximately 184 members

Common Tattoos - MAU MAU

Racial make up - African American

Prison Criminal Activity - Narcotics, Extortion, Assaults, and Gambling

STG Specific Tattoo/SymbolismWill usually be the words “Mau Mau”

TrendsCertified in Sept. 1998. Has resurrected after being dormant for years. Shaky alliance with African American Council. Antagonistic to United Crips Gang. Ideology is influenced by Black Panther Party, Black Guerilla Family, Black Gangster Disciples, & Black Nationalism (B.L.A.)

Warrior Society

Origin

The majority of the Native American inmates coming into the prison system join the Native American Brotherhood. The N.A.B. is a group which unites the Native Americans inside the prison system to ensure the religious practices and ceremonial beliefs can be met. Within the N.A.B. are the younger, stronger and more aggressive inmates. These inmates could be considered the “elite” N.A.B., the Warrior Society. The purpose of the organization of the Warrior Society was for protection from other inmates and STG’s in the units. Before the Warrior Society existed, the Native Americans, because they were minority, were often victimized by other inmates.

By-Laws(Directly from hand written document)

All members must be Native American

All members must be loyal to the people - unto death

All members have to put in at least 2-4 years martial arts (full contact) training.

All members must walk the Red Road

No Drinking/partying except on own time

No member is to marry a non-Native American

No members are to help out any Native American Bro'/Sis' who's in trouble whether they're in the right or wrong.

Once a member, always a member.

Jeopardizing organization or the people is punishable by death

All Warriors are to be trained in traditional & Modern war-fare techniques.

All Warriors are to be highly trained with the use of traditional and modern weaponry.

In times of personal stress - all members are to go to elders or medicine people for council without giving organization away.

Organization is to keep weaponry storage area.

No member is to use weapons in any thing but self-defense or defense of one of the people.

All members are to be fully trained in tracking, survival, etc.

Separate storage area will be kept for sacred items.

All members will enter sacred sweat lodge at least three (3) times a week.

All members are to keep them selves in peak physical condition.

Bank account is to be kept for organizations funds.

Only members of council are to have access to organization funds.

There will be an organization council made up of all dedicated wise-members.

When violence is in danger of happening - council are the ones who have final say.

All members will help & stand by each other whether in right or wrong.

All members will make monthly contributions to organization funds.

Yearly Donations will be made to chosen Native American organizations.

All members will be fluent in a few different Native American tongues.

All members will learn traditional sign language.

All members will be given names to use when on organization business.

Surenos

Surenos By-Laws(Directly from hand written document)

A life without vows is like a ship without an anchor, or a house that is built on sand instead of solid rock. A vow gives us stability, balance and firmness to our character. It is our duty to practice these three commitments.

Absolute Loyalty to our Sur CalifasWe support only the Califas patch, we respect the Sur and our Varrios. We have no interests in Arizona or any other states.

Strength, Unity and Respect

Don’t break weak minded, never tell our business to outsiders. Always have your Homies back. Show love and respect to all Southern Brothers whenever you may meet.

Reputation

Never smudge the reputation of the Sur, or a good Homie (s). Protect your reputation with honor.

All decisions must be reached by the committee.

NOTE: The above rules/Bylaws are retyped from an original

African American Council

STG Specific Tattoo/Symbolism Will usually be an outline of the African continent encircled by two rings. And/or the letters “AAC”. Also may use the numbers “113" (AAC)

TrendsPending certification. Black Muslim/Islamic influence (Religious issues). May be difficult to certify due to religious base. Antagonistic to UCG. Has shaky alliance with Mau Mau.

La Raza

STG Specific Tattoo/Symbolism Believed to be the words “La Raza”

TrendsPending STG certification. Believed to be the first female STG to be certified in a correctional setting. Has incidents of high violence potential. When first formed the used the name “Mexican Mafia” but subsequently adopted the name “La Raza”.

Nazi Low Riders

I, as a Nazi Low Rider, hereby swear an unrelenting oath upon the green graves of our sires, upon the children in the wombs of our wives, upon the throne of god almighty, sacred to his name, to join together in the holy union with the brothers in this circle and to declare forthright that from this day moment on that I have no fear of death, no fear of foe, that I have a sacred duty to do whatever is necessary to deliver our people from the Jew and bring total victory to the Nazi Low Riders.

I, as a Nazi Low Rider Warrior, swear myself to complete secrecy to the Order and total loyalty to my comrades.

Let me bear witness to you, my brothers, that should one of you fall in battle, I will see to the welfare and well being of your family.

Let me bear witness to you, my brothers, that should one of you be taken prisoner, I will do whatever is necessary to regain your freedom.

Let me bear witness to you, my brothers, that should an enemy agent hurt you, I will chase him to the ends of the earth and remove his head from his body.

And furthermore, let me bear witness to you, my brothers, that if I break this oath let me be forever cursed upon the lips of our people as a coward and an oath breaker.

My brothers, let us be his battle axe and weapons of war. Let us go forward by one’s and two’s, by scores and legions and as true Nazi Low Riders with pure hearts and strong minds face the enemies of our brotherhood and families, with courage and determination.

We hereby invoke the blood covenant and declare that we are in a full state of war and will not lay down our weapons until we have driven the enemy into the sea and reclaimed that which is rightfully ours. Through our blood and gods will, the land will be that of our children.

“UNTIL DEATH”

Westside City

Necessities of the W/S Family(These are a few things that we know most of the homeboys do without it being said, but as we have stated I the beginning, we would like to support our homeboys in any and every situation, as you’ll see by reading what we have asked of everyone.)

Employment: We deem it necessary for everyone to have some type of job, so that you can look out for yourself and a homeboy that may need something.

Education: We would ask that everyone at least try to obtain a GED while sitting in here doing this time.

Yard Stores: Try and have at least one homeboy running a store, this is so that the homies will have something to fall back on, but of course, everyone has to contribute to the starting of it.

Hygiene Excess: At least one person should have an excess of hygiene items for the homeboys just hitting the yard that may be in need of something, again, this is with everyone contributing.

One for every homeboy and every homeboy for that one: The W" is 1st priority in every situation.

Absolutely no arguing amongst homies: Disagreeing is not arguing.

All problems are to be discussed with the homies prior to any action.

Keep copies of this paper for the homeboys on other yards. Keep the homies hook-ups for communication purposes, whether they are going to the house or another yard.

Respect everyone as they respect you.

UCG’s and Crips are our closest allies, keep good ties with them unless a situation says different.

Like we said, these are some things that we feel needed to be said, whether you all do them already or not. We just ask that everyone be optimistic about this whole thing and give your individual support so that we can bring about some structure and unit within our set. There is no dictation from anyone in this, G’s and L’il Locs still hold there same rank. Much Love,

What’s Up with Stage Fright and Chamber Music?

5-HTP 200 mg extended-release tablets
W  hat about nutraceuticals or dietary approaches for stage fright? Aren’t there any over-the-counter supplements that work? What about amino acids? What about melatonin? I’m in a managed-care plan and I never get to see the same doctor twice. And the docs won’t ever spend more than 6 minutes talking to me, at best. The clinic schedule is so busy, they just go jumping from exam room to exam room. And the doctors’ decisions are reviewed and second-guessed by all these bean-counter administrators and compliance people. There’s no way I can go in there and ask for a prescription for a beta blocker or one of the other meds for performance anxiety you’ve written about in these blogs. Bells and whistles and alarms would go off. For all I know, the managed care plan might even tell my employer about it. On top of which the doc probably wouldn’t write the prescription anyway. I don’t have high blood pressure or any other condition beta blockers are normally used for. Makes me mad. What options do I have?”
  — Anonymous.
There was never any intention to provide a forum here in CMT for frequent discussion and critiquing of stage fright and modalities for managing performance anxiety. But, surprisingly, the posts about stage fright are among the most heavily “hit” and searched, of the 150-odd posts currently on CMT blog. And the numerous emails and comments clearly show a latent unmet need out there.

I’m not sure why this topic is ‘striking such a chord’ for CMT readers. Probably it has something to do with the fact that chamber music orchestration and small ensemble performance are so ‘open’—the individual musicians’ exposure and risk are in general greater than they are when performing in larger orchestral or choral groups; the performance venues for chamber music are specifically ones whose acoustics accentuates the intimacy and exposure; and there’s absolutely nowhere to hide, no ‘room’ for error. Every note, every nuance, every mistake will be heard. And chamber music audiences are highly attentive and critical. These features make for an ‘unforgiving’ environment—less forgiving, anyhow, than other live performance genres and venues and audiences. In fact, I suppose that this indigenous ‘high-stakes intimacy’ is part of chamber music’s thrill and appeal, for performers and composers and listeners alike.

While my own preference is to rely on deep-breathing and other non-pharmaceutical practices, there are many CMT readers who’ve sent me emails about their experiences with beta-blockers and other of the approaches that’ve been covered in the previous posts. And, recently there’ve been a number of inquiries about whether the amino acid, 5-hydroxytryptophan (5-HTP), is useful for managing or preventing stage fright. This post describes my own informal trial of 5-HTP over the past 6 months.

I  originally tried 5-HTP, not because of performance anxiety but because I was having trouble staying asleep at night, due to situational stress at work. I didn’t want to use any strong prescription sleeping medications, but I’d heard that 5-HTP may help with sleeping. Then I came across the Turner and Schruers and Miller journal articles and decided to explore what 5-HTP’s effects might be on my music.

Initially, I tried the 100 mg immediate-release tablets, but the dose was too low (for me)—or possibly the immediate-release formulation allows too much of the 5-HTP to be destroyed by the acid in the stomach, and therefore I wasn’t actually getting a full 100 milligrams-worth. The rapid dissolution immediate-release also gave me some bowel upset 6 or more hours after taking the tablet. But the 200 mg extended-release formulation works well and has no G.I. side-effects for me.

The 200 mg extended-release tablets also offer a relative advantage in terms of gradual, gentler onset of action. The 5-HTP is predominantly absorbed in the small intestine, so you want the tablet to pass through the stomach relatively quickly and move on beyond, into the duodenum and jejunum. Take the tablets on an empty stomach. I take one tablet 2h prior to performance with 60 mL (2 ounces) of fruit juice or water. Then I take a second tablet 1h prior to performance, again with a small amount of juice.

The most noticeable thing for me is that my inner dialogue with myself quiets down. The aspect of pre-performance jitters that manifests itself with unspoken chatter in my mind: the internal chatter just subsides in a nice Zen-like way. My ‘edge’ is not blunted at all, but I feel more serene. Subtle, useful effect.

Very busy weeks have led me to try 5-HTP on several consecutive days. Then, the next day when I don’t take any 5-HTP, I feel a little ‘low’. There’s a bit of a ‘crash’. I’m not lethargic, not mentally dulled or distracted, not sleepy, not overtly clinically depressed. Just mildly ‘down’. (My normal delight in small good things that happen each day, where’s that? My inclination to go visit with friends, where’s that gone?) I’m back to my normal, chipper self by Day-2 or Day-3.

The experience with the ‘crash’ following multi-day use of 5-HTP makes me want to tell you that, despite the fact that 5-HTP is “just an amino acid” or “just an OTC food supplement”, it nonetheless does have medication-like properties in these doses and should be taken with a level of care and caution that would ordinarily accompany our use of any medication. Dietary supplementation with serotonin precursors (5-HTP, tryptophan, etc.) in doses sufficiently high to be effective in changing mood or performance anxiety or your emotional response to stress———is bound to change the equilibrium of the biochemical pathways and endocrine feedback loops that control serotonin metabolism—in your brain and in other organ systems. Gee—you wouldn’t expect going on and off a clinically-effective dose of SSRI to have zero side-effects, so why would you or I expect that going on and off a clinically-effective dose of 5-HTP would have zero side-effects?

In summary, 5-HTP seems to have significant efficacy for panic attacks and stage fright anxiety, as reported in recent research journal articles. Since I have only mild jitters and don’t experience severe performance anxiety myself, I can’t say whether 5-HTP is likely to work for you, those of you who have severe symptoms. And I can’t say whether its effectiveness is ‘durable’—don’t know whether significant ‘tolerance’ to 5-HTP’s effects develops if you use it continuously or for long periods; don’t know whether dose-escalation is needed to sustain efficacy with chronic use.

What I can say from my own first-hand experience is that acute, occasional 5-HTP use does seem valuable and is worth a try. It’s readily available without any prescription and it’s relatively cheap. It has only mild, transient side-effects with acute, occasional use in doses up to 400 mg. And, in my experience, its [low-dose, extended-release formulation— ] effects don’t adversely affect vision, hearing, touch, blood pressure, breathing, muscle coordination, memory, or other aspects related to music performance.

There’s no reason why 5-HTP use couldn’t be combined with one of the other stage fright prevention/treatment modalities (a beta blocker; or a vasodilator like prazosin; or an anticholinergic like biperiden or trihexyphenidyl; or an anticonvulsant like levetiracetam; or deep-breathing or biofeedback training or meditation). The mechanisms-of-action for those modalities [probably] don’t involve serotonin pathways.

Tryptophan – Serotonin biochemical pathways
The effects of the different modalities might be additive when used together—enabling you to achieve the effect that’s adequate for you at lower doses of each than would be required to achieve the same effect with either med by itself. If you’re now using 40 mg of propranolol, you might, for example, be able to do as well with 20 mg of propranolol plus 200 mg of the 5-HTP. Or maybe even 10 mg of propranolol and only 100 mg or 50 mg of the 5-HTP.

Similarly, it’s possible that using 5-HTP with deep-breathing or biofeedback or yoga or meditation may enable you to achieve the same efficacy at lower doses of the 5-HTP and lower intensities of the biofeedback exercises than would be needed if you were using one or the other of them alone.

RESPeRATE breathing biofeedback training device
V ajrayoginī carries a hooked knife (kartari; triguk) known as the ‘Hook of Mercy,’ the weapon of non-thought that cuts the deceptions of self-cherishing. Non-thought (togme) is the most basic expression of Vajrayoginī, for her mind is completely free from subconscious chatter and from habitual patterns that give rise to obsessive thoughts. Non-thought is a purified form of ignorance, traditionally symbolized in Buddhism by a pig. In this sādhana, the dākinī is secretly known as Vajravārāhī, and her ignorance is transformed into freedom, the wisdom of limitless space.”
  —  Judith Simmer-Brown, p. 142.

StressEraser breathing biofeedback training device
Conversely, I think combining 5-HTP with an SSRI or with a benzodiazepine or with Risperdal or Buspar would be a distinctly bad or unsafe idea. Possible risk of ‘serotonin syndrome’ or other adverse effects.

You should not take 5-HTP if you have any of the following:
  • MAO inhibitor antidepressant use within the past 2 weeks;
  • tricyclic antidepressant use within the past 2 weeks;
  • SSRI antidepressant use within the past 2 weeks;
  • triptan antimigraine use within the past 2 weeks;
  • history of angina, myocardial ischemia, heart attack, cardiac arrhythmia;
  • pregnant;
  • breast-feeding;
  • carcinoid tumor .

The information on this page is not intended as medical advice and is not meant to be a substitute for individual medical judgment by a physician or other medical healthcare professional. The aim is to provide information and help in suggesting considerations for preventive care. The medications listed should be used only after a medical examination and under the supervision of a doctor. Always consult a licensed healthcare provider for individualized advice on your health decisions.


Click on the screenshot below to download the API (Acute Panic Inventory) questionnaire, to calculate the severity of your symptoms. You may like to keep a log of how your symptoms change over time, when you perform in different settings and when you try different approaches to manage your stage fright symptoms. The performance anxiety you experience may not properly be ‘panic attacks’ per se, but the API is probably the instrument that’s been most frequently used in longitudinal research on these sorts of symptoms. If you measure your experiences with the API and look for trends and correlations with what you’re doing to manage the symptoms, that will help you to assess what’s working and what’s not. Let me know how it goes, and I’ll continue to share things from time to time here on CMT.


Acute Panic Inventory (API) Spreadsheet