Triple Concerto

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Although the five movements of this piece traverse a variety of sonic terrain, they amalgamate to explore the distinction between diffused sounds and those in close proximity in rhythmic, harmonic and physical space.

Apart from the third movement, which is a short interlude for trio alone, the names of the movements toy with the usual associations of such titles: the first movement’s “Procession” is from stage to audience. Nobody enters, but the music itself. The “Ritual” is one of frantic pursuit. The “Chorale” exploits some spontaneous (and often gnarly) voice leading. This is where the brass make their major contribution from their positions scattered around the hall. “Circuits” describes both the distribution of sound around the ensemble and some subtle, ever-decreasing circles of harmonic material.

The “Orchestra Tacet” allows the NZTrio more prominence in a cadenza-like movement requiring some virtuosity to give the sense of sliding in and out of coherence. “They play a kind of music that seems to be constantly forgetting and then recovering its memory,” Gendall says.