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The formula for realising this work:

- take existing quartet (2010)
- delete guitar and cello parts
- rearrange and pare down surviving flute and clarinet parts
- add bass trombone part

Why?

- I’ve been interested in continuous recontextualisation of materials (transformed or unchanged) within single works for some time now; if I rip entire chunks from an existing piece and use them to build something else, to what extent is the resulting work new, and to what extent is it related? – and can this relatedness even be detected? Furthermore, is composing in my usual mode as dependent on such high levels of compositional struggle as I had previously held it to be?
- but primarily: this is the first work written since the arrival of my son about a year ago; time for composition remains limited and rapid solutions must be found

Chris Watson

• Watson, C.: recrudesce; computer set 

  Score and parts | Pdf - computer set
  
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• Watson, C.: recrudesce; computer set 

  Score and parts | Hardcopy - computer set
  
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• Watson, C.: recrudesce; computer set 

  Full score | Hardcopy - computer set
  
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• Chris Watson: recrudesce; audio 

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• Taylor: small loop; computer set 

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TRIO SONATA for flute, viola, and harp is a four-movement work which combines polytonality and classical music structures with the following “non-western” melodies in the following movements : (i) “Aš pasejau linelius” (transcribed from the compact disc, Lituanie – le pays des chansons, Ocora-Radio France); “Carry Me Back to Old Virginny” (James Bland); (ii) Menuet melody by Antonio Sacchini; (ii) theme from the second movement of the “Emperor” string quartet by Joseph Haydn; and (iv) “Shto mi e Milo” – a traditional Macedonian folk melody.

• Matthew Davidson: Trio Sonata - downloadable PDF 

  Score and parts | Pdf - computer set
  
  $40.00
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• Matthew Davidson: Trio Sonata - hardcopy score & parts 

  Score and parts | Hardcopy - computer set
  
  $50.00
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• Matthew Davidson: Trio Sonata - MIDI realisation 

  Digital sound file - MP3