University of York Music Press

In 2019 – before the global pandemic and lockdowns were even threatened - I sketched ideas for a new piece for Trilogy Ensemble (flute, viola and harp) based on notions of isolation. A key feature of the design was asynchronicity: any of the instruments could become independent of the others and play ‘alone’ in a way that didn’t necessarily synchronise with the ensemble.  There would be passages in the piece where the ensemble plays together, but also moments where there was no pulse, where the performers rely on cues from other players to trigger their next move, as if they were acting out some sort of secret, musical ritual, or where two contrasting tempi are played simultaneously.

When the news of the pandemic became serious, in mid-March 2020, I experienced great anxiety, not just for my own survival, but particularly for that of all my friends and family. Their importance became to the front of my mind, and musical ideas came creeping in which I felt might express my great gratitude for such friendships and support over so many years – in the north west for half a century, in fact.