St Albans Triptych

Much of the material for this Triptych is derived from a six-note cell which has been rotated to create short melodic lines, all related by transposition. These rows are often stitched together to form more extended passages, sometimes stated rather boldly and at other moments more buried within the texture. This hexachordal transposition-rotation idea also contributes to some of the more structural harmony, and the fugue subject is derived from it. In general, this work has a sharp-edged Neoclassical feel, although the central interlude (‘Lamento’) owes something to the Romantic French Fonds d’orgue soundworld. As much of the melodic and harmonic content is related and cumulative, the three movements are best performed as a complete set without much break between each. That said, they may be played separately and/or liturgically if desired. For added flexibility, it is possible to use the alternative ending provided for the first movement to play an Introduction and Fugue (in D minor), omitting the middle Intermezzo.