counter)induction

En Trio borrows a substantial part of its musical material from works of the 20th Cen. written for the same or similar ensemble (Peirre Boulez’ s Domaines, Le Marteau sans Maître, la Deuxième Sonate pour piano, Alban Berg’s Pieces for clarinet and piano and Bela Bartok’s Contrasts). This diverse material appears openly only rarely—for the most part the quotations hide in folds of the polyphony and harmonic aggregation: it is an organic material. In the first movement, the three instruments are treated roughly equally, with a slight predominance given to the clarinet, and the violin slightly in the background. The second movement is far more variable, and far less egalitarian. The movement is structured as a collection of ‘duos’ separated by brief episodes ’? trois’. In each of these duos, one instrument predominates (first the violin, then the clarinet, then the piano). In the final Trio, the instruments are again given equal weight.