Brian Inglis Piano Trio for violin, cello and piano Score 2017 ce-bi1pt1-dl-s Written at the request of Peter Fribbins for the Aquinas Trio First performance: 28th January 2018, King's Place, LonDon (LonDon Chamber Music Society) Performers’ notes This piece takes inspiration from film and music video editing techniques, particularly those in 1980s pop videos. Specific reference points are the video for Ultravox’s ‘Vienna’, with its striking film noir shots of the city; the rapid cutting and juxtapositions in New Order’s ‘Bizarre Love Triangle’; and – especially – the long slow cross-fades in Derek Jarman’s video for the Pet Shop Boys’ ‘King’s Cross’. The literary techniques of ‘cut-up’ and ‘fold-in’ associated with William Burroughs also inform the work. These inspirations are manifested at the level of both structure and content. At the structural level, score indications such as FADE IN, JUMP CUT, DISSOLVE etc (which may apply to single instruments, duos or the whole ensemble) suggest effects for performers to evoke - through carefully-graded dynamics, pacing and articulation. At the level of content, contrasting textures and types of music are juxtaposed and sometimes superimposed (listeners should have the sense at times of ‘tuning in and out’ to music which carries on regardless.) Musical references are sometimes to the history of the piano trio genre (including the Palm Court repertoire) and composers who’ve contributed to it; at other times sound ideas not usually associated with the form are explored. Direct quotes are taken from works by Charles V Alkan and Robert Schumann; a shorter quote from Dvořák’s Stabat Mater ('Qui es homo') is the basis for a longer section/layer (cello bb18-29 & 37-48, with accompanying piano); and a number of micro-quotes (a kind of acoustic sampling) are deployed elsewhere (see below). Burroughs-inspired cut-ups are found in the interpolated silences/pauses of the ‘machine-like’ section in Part 2 (figure B), and later in the same part where compositional states and processes are interrupted: firstly by the altered return of material from the beginning of Part 1 (piano part figure D + bb 57 & 59); then cut with cadential gestures from a number of historical piano trios (b 70 piano;i b71 violin;ii b80 violin & piano;iii b84 violin;iv b90 cello;v and b86 pianovi); and finally overlaid by the longer Robert Schumann quotation. The cutting and mashing-up here relate, again, as much to film/video technique (and indeed electronic dance music) as to William Burroughs. This should be borne in mind when balancing the piano’s ‘found’ R Schumann quote against the other material; and when projecting (for instance) the cut-in cadential gestures from b84 in Part 2. These should resemble the abrupt fast cuts associated with music video editing (and indeed dance music production – which also inspired the coda section, figure H). Brian Inglis (www.impulse-music.co.uk/brianinglis), October 2017 Note on specific rhythmic/metrical notation At times, bars or part bars use time signatures with denominators which are not multiples of 2. These denote alternative divisions of a whole semibreve (eg 6 for crotchet triplets) and are used for incomplete tuplet groups. IE, the tuplets start off like regular tuplet groups but are cut off before completion, the performers proceeding immediately to the next bar’s material. Accidentals Accidentals hold good for each bar, in the usual way (at times cautionary accidentals have been inserted for clarity). i Cécile Chaminde, Trio Op.11, I (last bar) ii Chaminade, 2me Trio Op.34, III (last bar) iii Clara Schumann, Trio Op.17, III (penultimate bar) iv C Schumann, Trio, IV (last bar) v C Schumann, Trio, II (last bar) vi Chaminade, Trio, I (last bar) Note on Piano Notation Black note cluster Chromatic cluster between notes indicated between notes indicated b ˙ $œø ˙ ˙ œø $ œ ! ˙ œ # " ˙ ˙ œø ¢ ˙ ˙ œ Expansive gestures in free time Diatonic cluster between notes indicated Piano Trio Part 1 Brian INGLIS (2017) 3 A =60 3 q loco > > œ $œ &œ œ œ $œ œ œ œ œ œ &œ § 3 œ $œ œ &œ œ 2 3√> > œ œ 2 Violin . 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