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On the afternoon of the 28th I went to sleep for a short while and dreamed up a septuplet 'trill-flourish' motif in C major and an ensuing 'upward-sweeping' melodic fragment of a minor 2nd and major 7th, both of which I immediately wrote down. This was to be the material on which the trio was based.
I was searching for a 6/8 allegro idea and worked at several until I suddenly remembered the 'jazz fugue' from 'Movement for orchestra' which I'd written way back in about 1963. It seemed to fit perfectly and work most effectively for piano trio, forming a perfect link between the Andante (rapsodico) and the next section Tragico.
Tragico begins with the upward-sweeping motif, but now very slow and sad. This forms a bridge and modulation to E-minor where the cello enunciates the theme 'Parting', a fragment I had dreamt up whilst preparing the repertoire for Vladimir Ashkenazy's album of my piano works in June 2013. Here the 'Parting' theme develops greatly, leading quite rapidly and unexpectedly to a colossal climax, then falling down to a paused low chord of C major which begins section 4.
Grave molto espressivo is a deeply-felt cadenza for violin and cello which then starts to accelerate (piu mosso) towards section 5
Cello and violin play in unison at the 16th against a constantly turning piano phrase using the ever-present 'trill-flourish' motif. Martial and tragic hints and twists are now overcome by massive upward scalic movements seeking a major key and suddenly triumphantly asserting that of E major.
Giojoso, ecstatico transforms and inverts the minor 'upward-sweeping' theme into a major 'hymn of triumph' punctuated with huge piano chords. The energy of this is so great however that it must inevitably sink down to regain stability and a hardly-moving harmonic 'thirds duplet' grows gradually quieter and slower until it sinks away to nothing without resolution.
The music of the opening returns but this time in the key to which the piece has ascended - E major, the final bar picking up the 'trill-flourish' motif and giving the whole work a resolution with a very short coda on violin and cello sounding alone - yet perhaps finally together. The piano is wise enough not to interfere.