When composing the Trio for violin, viola, and piano, I was interested in counterpoint and stylistic eclecticism. My interest in counterpoint derives from some of the whimsical counterpoint of Don Freund, notably his "Pachelfreund Canon," a work that is unusual for the late twentieth century in that its instrumentation is arbitrary. The first movement of the Trio contains several large sections comprised primarily of close canons that are loosely based on the introductory theme. My interest in stylistic eclecticism stems from many practitioners, including Freund and Alfred Schnittke. The canons of the Trio's first movement suggest Debussy, the paraphernalia and crunching sounds of the second suggest 1960's Penderecki, the opening tune of the second movement is scored similarly to Mozart's Piano Quartet in Eb, and the final movement mixes Bartók-like glissandi with snatches of Stravinsky, Strauss, and even a final ragtime that suggests Joplin. I was aware of all these influences as I wrote the piece. There are doubtless others as well. Hopefully the effect is not a confusing hodge-podge, but rather a collage with an internal logic all its own.