Once you get to know them, it becomes clear that Amity Trio’s debut album couldn’t be about anything other than love. As individuals and as an ensemble, they express love through everything they do. Their love of life, of food, of music, of teaching, of community, and of each other are infectious and candid, and this album is a testament to the way they move through the world.

The album is a theme and variations on the notion of love itself, turning the idea love over and seeing it from all its angles, in all its guises—romantic love, familial love, false love, self-love, and love of one’s culture. As a whole, the works they’ve selected invite us to consider how deep love goes, how we can find love in all facets of our lives, and how profound it is to be able to profess love.

Amity Trio’s mission is to support and foster the development of new works by composers from underrepresented groups, and this album celebrates what it means to be “American” by providing a testament to the profound range of experiences that define American womanhood. We’re taken on a tour 
 beginning in the twentieth century, with Amy Beach’s late Romantic sentimentality, and Florence Price’s contrasting perspective of what love feels like from a Black perspective. Their works are placed in conversation with the music of four living composers—Lauren Bernofsky, Alice Jones, Carrie Magin, and Nur Slim—each of whom proclaim a different kind of 21st-century American womanhood. Each composer on this album declares, in their own voice, the powerful claim that all people have the right to exist, the right to be heard, the right to love and be loved.

This album exists despite the odds stacked against it. Amity Trio rehearsed, recorded, and promoted this album in the midst of the Covid-19 pandemic, with Kim living in Indiana and Katie and Mike based in Albuquerque, New Mexico. It shouldn’t have  worked. But love finds a way. They commissioned new works, embraced new virtual platforms for rehearsal and marketing, and resolved to find a path forward where none had existed before. This is an ensemble driven by a roll-up-the-sleeves, entrepreneurial spirit that says, in the face of all challenges, “we can do this.” Love finds a way. -Dr. Alice Jones

El Mito De Coronis III. Mexican Lie by Nur Slim

El Mito De Coronis II. Mitos & Lies by Nur Slim

El Mito De Coronis I. El Mito by Nur Slim

I SELF ELECTRO

Widmung (2017) para violín y grupo instrumental
I Oktobersonne
II Lied ohne Worte
III Passacaglia (Aus der trunkenheit)
IV Fantasia (Die Melancholie)

Carla Benítez Ruiz - violín
Orquesta Sinfónica de Aguascalientes
Christian Gohmer - director

Pintura - Elmer Bischoff, Two Figures at the Seashore 1957

Widmung (2017) - for violin and ensemble

Lo bueno de vivir en comuna es que en el momento que te gusta una canción les dices a los otros que si la pueden sonar y suena. Aquí un cover de Charles Chaplin. 
Jorge Servin - batería
Federico Sánchez - guitarra
Nur Slim - requinto y voz

Smile (Charles Chaplin)

Tres Islas
I Poema del cielo y el mar
II La luz y las islas
III Apoteosis del mar y la tierra

Orquesta Sinfónica de la Universidad de Guanajuato
Iván López Reynoso  - director

Tres Islas (2021) - for orchestra

Entre las fronteras de México y Guatemala se comparte una extensa selva conocida como el Parque Nacional Sierra del Lacandón, donde la fauna se impone al igual que la vegetación. En este registro sonoro podemos distinguir una manada de monos aulladores, y de distintas aves que nos transportan a este paraíso terrenal.  Grabación realizada en febrero de 2015.
Esta pieza será expuesta en el Brooklyn Ecology Acoustic Festival, 2015.

Parque Nacional Sierra Del Lacandón

Cuarteto de Cuerdas en la Interpretación del Cuarteto Brodsky

Cuatro Miniaturas - Para Cuarteto De Cuerdas

Sérénade

I Intrada
II Metamorfosi d'una marcia
III Aria malinconica
IV Intermezzo in modo di canon
V Rondo "in tempo di polacca"

Carla Elizabeth Benítez, violín
Alena Stryuchkova, viola
Roxana Mendoza, violonchelo

Cuadro, Jesús Miranda (Sin título)