In a time of much turbulence and uncertainty, it can be a difficult task to process creative feelings and develop them into a piece of music. Instead, my approach to writing this piano trio was to harness my chaotic thoughts and use them as the driving force behind the music.

Chaos Theory follows the notion that within seemingly chaotic behaviour there are underlying patterns, connected material and repetition. In the short performance time of this piece there is a wide range of sounds and textures, but, through it all, there is a common thread that can be found. The major second interval heard in the violin from the outset is repeated in one way or another throughout the ever-changing soundworld.

Minimalism and impressionism were two initial influences that proved crucial in composing this piece. Whilst the approach to the violin and cello was strongly rooted in the former, the primary focus in the opening was to work in gestures as opposed to melodic or harmonic movement. The violin and cello contrast strongly to the piano, which makes significant use of playing directly on the strings, resulting in a very loose sense of pitch or harmony. These ideas are carried through to the next section but are combined with my more natural melodic and harmonic instincts.

All three instruments are pushed to explore many different sounds, and the extensive use of the inside of the piano meant that the compositional process was more like writing for four instruments. This allowed for a certain freedom when it came to manifesting my musical ideas.