I wrote this trio for the Trio Persona. It is a very demanding piece for the instrumentists, not in the ordinary sense of "technical dificulty", i.e., virtuoso writing, but for the oposite: sometimes the music is very tiny, only one instrument or two, very long notes, a lot of air the breath, very high or very low sustained fortissimo or pianissimo notes, and so on. The three visions of the title are linked one after eachother, and only the last one, because of its fast tempo is more detached from the others, but my goal was not the have three diferent movements like those in classical sonatas, but to have instead a sonic experience near to the contemplative extasis of a religious mystic. For this same reason also, this piece demands a very ressonant space in order to be played as I which. The silences in the score are not silences at all, but spaces of ressonance created by the acoustics of the room. Ther is no such thing in our universe as complete silence and complete imobility. Everything is moving and everything is creating sound. That is life, and this piece is about the inner life of the mind, of the senses and of the memory. Sparkles of diferent religious feeling split from the music, from the austere plainchant of old spanish mystics, like São João da Cruz and Santa Teresa de Ávila, to the pantheist religious feeling of nature, like in the end of the piece, when echoes of moravian and czech folclore can be heard. I used this kind of music (allas, completely invented, no quotations were made) not because the piece was intended to be played in Czech Republic but because I allways loved this culture and used this folk music in several other pieces. I am also very near of the peculiar religious feeling that is expressed in works like Leos Janácek's Glagolitic Mass.
