// Update 2023-01-18: I switched this album back to public from private. I had taken it down earlier since it's all very enthusiastic amateur work - the performance, the recording, the composition, even my writing about it. But maybe I'll make a cleaner version with VSTs some time, and for now it came up in discussion and there was some interest in giving it a listen. The scrapbook "polystylism" is still kind of a neat idea I think. //

Neo Trio is a six movement polystylistic trio for violin, french horn, and grand piano. Composed and mostly recorded back in 2011 (I was 20), it was finally released here on bandcamp in Oct 2018. The recordings were produced by layering myself playing each instrument, though the Finale was produced fantastically electronically. The full score (in concert pitch) is available as a bonus download if you purchase the full album (at "name your price").

Here is my summary list of references, in the form of inspirations, stylistic references, and overt quotes:
I) Soldier’s Tale (Stravinsky), Lobe Den Herrn/ Praise to the Lord (Hymn), Edward Scissorhands (Danny Elfman)
II) Nocturnes of John Field, Kakariko Village (Legend of Zelda), Beethoven’s Pathetique, Khachaturian’s Masquerade Suite, Meistersinger Overture (Wagner)
III) Mainly Anton von Webern’s third movement of Five Movements for Orchestra, Op. 10; somewhat Berg’s violin concerto/ violin tuning
IV) Bach-inspired fugue and overt hymn
V) All of the above, plus: I Gotta Feelin (2009 Black Eyed Peas), Widor’s organ symphony 5 Toccata, Nutcracker Pas de Deux (Tchaikovsky)
VI) Arvo Paert’s Spiegel im Spiegel, using Widor’s toccata chords in slow arpeggiated form, and featuring the Edward Scissorhands chords more overtly again


The following is the original notes I wrote up after initially finishing the composition:

Notes on Neo Trio
by Chris Hay

I. Prelude
The piece opens with enthusiastic flourishes of activity and introduces materials which will return in other parts of the piece. Once the excitement settles down, there is a steady oom-pah section and a reference to the hymn (which is heard fully in the fourth movement). The first movement ends with the contemplative "Edward Scissorhands" chords. These two chords will reappear in every movement (veiled and overtly) and connect the piece as a whole. This movement was the easiest to compose. It was very natural, as though my writing it were like receiving a gift.

II. Romantic
This movement was by far the most difficult to compose and took the most time. It refers to numerous Romantic-era pieces or styles: the Nocturnes of John Field, Beethoven's Pathetique, Khachaturian's Masquerade Suite, and the prelude to Wagner's Die Meistersinger von Nurnberg. The materials may come across as very separate quotes at first, but there is often mixing and overlapping of ideas taking place. Similarly to the first movement, this movement ends with overt use of the scissors chords (though longer and more developed this time).

III. Modern
There are three main sections in this movement, which are juggled so that each will be heard twice, in some form. There is use of a tone row as well, which was constructed to allow for specific dissonances. The movement was carefully arranged to twice refer to the scissors chords (covertly). The movement is largely inspired by suspenseful film music and the music of Anton Webern (compare with the third movement of his Five Movements for Orchestra, Op. 10). Its effect should be felt as strong, precise expression, night air atmosphere, intense fear, and partial resolution. Extended instrumental techniques are used, so additional performance instructions are included with the score.

IV. Fugue
In sharp contrast to the atonality of the previous movement, the fourth enters with the impression of a Bach fugue. This movement was the most quickly composed (completed over three consecutive days) and follows traditional fugal form and technique. However, this is only the first half of the movement. The second half is a pure statement of the well known hymn "Praise to the Lord" (or as I first experienced it, "Lobe den Herren"). Having these two unchanged references placed adjacently to constitute one whole movement is a sort of statement of radical simplicity. Juxtaposition is a central concept to the entire piece.

V. Finale
No other movement combines as many different styles as this "final" movement. Every previous movement is referenced and new references for this movement itself are included. The new references are the well known Toccata from Widor's organ symphony number five and the hit summer 2009 pop song "I Gotta Feeling" by the Black Eyed Peas. Essentially, all the references come together at the end in a party, creating a nostalgic effect. The treatment of the references is celebratory and grand. The new references were chosen specifically for these reasons (Widor often associated with Easter or weddings and Peas with partying and doing crazy stuff). In the middle of the movement, the Field nocturne returns using a new chord progression which roughly corresponds with the order in which the movements were composed: I, III, IV, II, and V. Then, after a combination of the Field, scissor chords, and Widor, this progression blooms into a reference to the Pas de Deux from Tchaikovsky's Nutcracker, to which it is so similar. The movement ends with a slowing Peas, which leads directly into the postlude (the actual final movement).

VI. Postlude
In contrast to the previous movement, the postlude is homogenous, quiet, and meditative. A final grand fortissimo statement of the scissor chords is placed in the middle of calm arpeggios and held notes inspired by Arvo Part's Spiegel im Speigel. The harmonic material is taken directly from the coda of the Widor Toccata. This movement finally succeeds in fully presenting the contemplative music only briefly heard in previous movements. The listener is left to ponder and feel at peace.


The piece as a whole:
Interpretation is ultimately left up to each listener, but I will make some comments about my understanding of this piece. The polystylism and use of quotes is a major component of the piece. It is not meant tell a story or present some ideal for future music, and it is not meant to feel exclusive to only well-read listeners. My hope is that the listener may take an interest in considering different types of music and be willing to listen-to and understand them. Music is music and even without recognizing any quotations or styles, the piece as a whole should still be effective and interesting. Each recognized quote or style reference brings with it extramusical meaning. These meanings can be very personal, and so the piece can produce very different reactions for different people. I hope that listeners of the piece will try to come to some understanding of it and find it somehow meaningful.