Trio #1, #2, and #3 for Oboe, English Horn and Piano
Winds & Piano/Chamber
2013 & 2014
5, 4, and 4 minutes
QW1ldGh5c3RhOnJlZ3VsYXI=
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
QW1ldGh5c3RhOnJlZ3VsYXI=
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
Inspired by the sudden switch from F# minor to F major in movement #4 of Beethoven’s Eighth Symphony, similar half-step transitions, forward and backward appear in Trios #2 and #3. Trio #1 asks for some play-acting by the musicians.
