Vision is more than sight—it is the capacity to imagine, to hope, to see potential where others may not. For me, music was that vision from childhood: a world of sound, shape, and emotional colour that gave purpose and joy. When I was diagnosed with keratoconus as a teenager, that world grew dim. As my eyesight faded over a few years so too did my connection to music. I could no longer read the notes I had once played so freely, and eventually, I stopped performing altogether. But vision comes in many forms. In the absence of visual clarity, I discovered other ways of seeing—through my children, through memories of focused images, through working with nature as an organic farmer. Years later, thanks to donor corneas and a series of procedures, not to mention undying family support, my physical vision was restored—and with it, the full return of my musical life. This recording is the result of that rediscovery: not just of sight, but of purpose, collaboration, and a renewed sense of artistic direction, and focus! Each work on this album reflects a form of vision.

Henri Casadesus, a violist and musical innovator, saw the gap in the viola’s historical repertoire and imagined a way to fill it—crafting works that brought past and present into dialogue. Rebecca Clarke dared to envision a future in which women composers could be heard on equal terms. Her Sonata for Viola and Piano, submitted anonymously to a composition competition, has become one of the great pillars of the instrument’s repertoire. Géza Frid’s music was shaped by exile, resistance, and resilience. In his Sonatine, he offers not just musical craftsmanship, but the clarity of someone who believed in rebuilding through art. Elena Kats-Chernin’s Still Life blends quiet reflection with contrasting wildness, capturing the cyclical nature of vision as it moves from stillness to intensity and back to serenity.