Partita Concordia for string trio

Hi All,

Thought I'd post this for your ears. The work is in 9 movements, all contrapuntal in some way and (for those with more delicate ears!) it's tonal. Inspired by Bach of course, but not really in his language. It is my 'Pulcinella' moment and harks back to forms from the 16thC cf. with a few twists.

Hope you dip in and enjoy some of it, the whole thing lasts about 20 odd minutes and is performed by Alexandra Wood on violin, Levine Andrade on viola and Richard Harwood on cello. Recorded at the Menuhin Hall in Surrey UK. You can also see a score movie here rather than opening all the files below..

All comments good or bad welcome.......(btw, there is another bloody fugue in there).

Partita.part1 - Full Score.pdf

partita.part.2 - Full Score.pdf


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  • some more audio files.....



  • and some more.....



  • and finally.......



  • Mike, excellent work and impeccable craftsmanship, as always. I so admire your modern tonal approach.

    I think I enjoyed the Prelude/Postlude the most. Oddly the opening recalled Stravinsky's Rake's Progress and some of his other similar music from that period (something about those string trills in m.3) and yet I felt it was the most personal music of the bunch. "Prelude" being an almost completely freeform structure, I suppose it was the least derivative in the "harkening back" sense you intended for all the movements. I know we don't like to talk about it on boards such as these, but I just felt the most emotional pull there, especially well-suited, I think, as bookends to the suite.

    There's some wonkiness on p. 19 of Part 2 of your Full Score PDF.

  • Wow! Mike. This is just wonderful. Very beautiful. I must take a step back.  I loved every movement and the whole arc. !   Great attention  to detail - meticulously crafted.. A beautifully sensitive performance as well! Hats off to you!

    I was reminded a bit of different composers - Vaughn-Williams, Stravinsky, Barber, even a touch of Debussy.. also seemed very modern and old (renaissance/ baroque ) at the same time.. many reflections coming thru.  Great work!

  • I haven't had a chance to listen to the entire thing yet. I'm working tomorrow and I must go to bed. I did, however, listen to the prelude, and I really do like the contemporary feel to a very classical genre. The use of tonal chord structure with clusters works brilliantly. I can't wait to spend time listening to the rest! Bravo to you and the performers!

  • Guys,

    I'll address you all in one if you don't mind as it I hate the way multiple posts look as though one has taken over the forum!!!!


    Thanks John, I'm pleased some of it got to you. Funnily enough, The Rake is one of the few pieces by Igor that I don't know, but I do have a cd and will listen to it soon. Yes the bookends are freer by their very nature, the rest as they are all sort of dance related, had some formal cohesion and rhythmic necessity.

    The wonkiness came about as I was appending separate scores into one in Sibelius, I didn't realise the postlude also had a title page until after I'd posted.


    Thanks to you too Gregorio, delighted you enjoyed them and thank you for the compliments. I am particularly gratified that they worked as a whole for you, the arc was an important part of the conception.

    I too can hear the influences you mention, maybe not a bad thing eh?


    Hope you had a good nights' sleep and thanks for listening and your kind words. The harmonic crunches are an essential ingredient in these pieces in an attempt to try and keep them one level above pastiche. I hope you get time to take in a few more and enjoy them.


  • Mike, you mention,

        "I too can hear the influences you mention, maybe not a bad thing eh?"

    No, not at all. It is all integrated and offers many reflections indeed!  (to me, a sign that this is its own piece!)

    What a compelling addition to the S.Q. repertoire!

    I will come back to listen many times.. Thanks so much for posting! (it has given me inspiration to continue work on my S.Q.)

  • @Gregorio,

    A composer can't ask for anything more, if I have inspired you in any way, then job done. Thank you for your kind words Gregorio and good luck with the 4tet.


    One is better than none, thanks for giving it a listen.

  • Finally got round to this.  It took a while for my ears to acclimatize to your sense of harmony, but I thoroughly enjoyed the bouncy rhythms of the Boureé by the time I got there, as well as the beautifully plaintive, yearning melody of Sarabande.  Gigue ala fugue was an interesting take on fugal treatment of the themes; though on a first listen it's hard to evaluate it (as fugues are wont to do).   The Galliard sounded very familiar -- I must have heard it before, right? You did post it separately some time ago?  Quite liked how the Postlude reflected the themes in the prelude in a cyclical conclusion to a very nicely-crafted suite.

    The overall sound is quite unique, and features your nice sense of modern harmony with the 4ths and 5ths. It did remind me of Sibelius' string quartet in A minor somehow, perhaps not in style or harmony but certainly in mood and timbre (but maybe timbre is stating the obvious, since it's just your typical small string ensemble timbre).

    Thanks for sharing this beautiful work here!

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