String Trio, Op. 4

An introduction by Gareth Green MA (Oxon), FRCO(CHM), FLCM, ARCM Former senior examiner and international coordinator for ABRSM

The musical vision behind the work is to present a work in the composer’s own voice that draws on techniques of motif, counterpoint and texture from the Baroque era.

The individual voice of the composer comes across mainly in the level of dissonance explored, which gives the work a clear sense of tension and drama. Much reflection has gone into this aspect by the composer to ensure that dissonance is employed for emotional purpose rather than simply creating harmonic obscurity. Thought has been applied to the use of inessential notes as a means of writing expressive lines as well as dealing with implications of voice leading and harmony.

The strong melodic ideas are based on short motifs which are worked in a Neo-Baroque style, very much creating the musical character of the piece.

The other significant Neo-Baroque feature is the contrapuntal design of the piece. Alongside the counterpoint the composer has weaved in more sustained cantabile lines, which provide an excellent contrasting thread.

Much thought has been given to string sonority, making effective use of instrumental range and exploring colours less typical of the Baroque influence, such as the corners of high Cello writing and the crossings in the lower two parts.

The work is driven by a strong sense of consistent, rhythmic character, imposing energy and excitement, and enhancing the melodic aspects of motifs.

Much thought has been given to the structure, both externally and internally, giving a strong sense of cohesion to the movement.