The opening was pointillistic, with short stabs from the three instruments, and exciting blended unison crescendos. There were some interesting moments, with high piano chords and violin pizzicati seemingly ‘chased' by low bass-clarinet splodges, as if the latter instrument was trying to swat a fly - the combination of piano staccato chords and pizzicati seemed to be the basic texture of the piece. Later this dialogue was reversed, with a low bass-clarinet line trying to escape from the ‘pinning-down' of the piano and pizzicato stabs. The second movement allowed Philip Howard to produce some ravishing piano sounds, achieved by fabulous voicing and pedalling.

Aleksander Szram. musicalpointers.co.uk