Trio for Oboe Violin and Piano

Here's a work from 12 years ago which I took a look at with a fresh eye.  I decided to add a mid-section(s) ... These are some new ideas ... not yet fully realized.  However, some feed back would be welcome.  The initial section is finished.  I also included a few new measures at the ending.  I wonder if that works too. 

Mark

Hi Mark,

I always love your modal usage and added notes to the harmony as it makes the music more uncertain like when you're dating. I think the flirting between the oboe and violin fluent and interesting. 

5 hours ago, MJFOBOE said:

However, some feed back would be welcome.

For me I believe the transition can be better prepared. I think the transition in b.30, 70, and the return of the opening material in b.93 can be better prepared if the previous measures don't end on a cadence with some voice moving. Also adding some slurs for the violin will be great for the legato playing. 

In the recording I feel like piano is not given much importance as the oboe and violin. Will you have some passages when the violin accompanies for the piano? Practically the left hand of the piano since low register is not featured in the piece when the oboe and violin are the stars.

Thanks for sharing!

Henry

Hi Mark. Let's dive into it. By the way, if the work is unfinished perhaps it would be wiser to move it to the proper sub-forum (for incomplete works).

I would suggest the same as Henry. Transitions seem the main issue here, at least to me. The section in 3/4 starting at M31 and everything following it up to M71 seems right now a different piece. Making a soft transition might be difficult but you very well know your craft; most likely a rit./accel. passage will solve it. You could also prefer to put a fermata in the preceding silence (is that what the tenuto mark means when over the silence? I noticed it at the end of M30).  You seem to have enough material to make 2 pieces actually, so perhaps cutting the 3/4 and using it to make a second trio via developing what you have there isn't a bad idea. "Moods" that both give seem also quite contrasting.

The section between M71 and M92 is quite good by itself but also unfitting due to the transitions that were used in both its beginning and its end. I suppose this material is introduced there in order to make a softer transition from the "B" theme and the "A" theme but I believe it doesn't truly work because of the abrupt tempo change at M92. It is obvious that this work still needs a decent amount of your polishing and care in any case! 

Looking forward to check either how it goes or the final product. Thanks for sharing, Mark.

Kind regards,
Daniel–Ømicrón.