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Arranged for piano trio in digital sheet music[EP14698].\u003c\/p\u003e\n\n\u003cp\u003eWhy do we talk and write about music? Can we get closer to understanding it? Are there some universal human criteria governing and engendering it, which we may hope to reveal little by little?\u003c\/p\u003e\n\n\u003cp\u003eWe run up against what has seemed, for as long as music theory existed, to be an insurmountable obstacle: music is not only an art; it is a culture. Its core contains the accumulation of happenstance canonised by tradition, not justified by correctness or necessity. So a composer, while being a craftsman endeavouring to apply most felicitously his mastery of the art, is also a participant in a self-referential culture. 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Whilst the immediate postwar generation of British composers chose to work intensively with medieval and renaissance models as a way of developing a uniquely national approach to late 20th Century form and technique, I identified far too strongly with key Central European Modernist aesthetic tenets for me to seek a historical connection with the far past. In any case, not coming from a musical background I had no practical access to, or emotional identity with, the cathedral choir schools which nurtured many English composers in significant ways.\u003c\/p\u003e\n\n\u003cp\u003eHowever, as soon as I began to occupy myself with this unlikely task, I distinguished a number of ways in which one might approach a foreign body of whatever sort of unfamiliar material. In particular, I was determined to avoid any suggestion of parasitism in which objects of regard are sucked dry by an all-too-literal variative consumption of their substance. 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