“Triptych” version for clarinet, bassoon and piano 1991/2004

Three parts of the Triptych constitute a kind of emotional cycle starting with “Silence“,
which in fact proves to be not merely a “lack of sounds” or “emptiness”.
Rather, it contains a whole range of emotionally charged elements in accordance with the idea
that there is no “real” silence, and whatever seems to be absolutely silent, might be a concealed scream.

In the second movement, “Discussion“, of a somewhat sarcastic character, composer tries to establish
a dialogue with his great forerunners, and in the spirit of  neoclassic  Shostakovich-Hindemit-like Scherzando
one feels a search after one’s own place in this “discussion”. The rhythmical pattern of the main theme is reminiscent of
Rossini`s “William Tell” motive and in the development part some places from Beethoven’s sonatas and symphonies
might be guessed, though their use has no doubt much of a humorist or even ironic character.

The final part, “Prayer“, is the one bearing the most personal character in the cycle.
A simple monody “growing” out of the lower register of each instrument’s solo,
is  striving to reach its most heights in a kind of one breath motion
and is reminiscent of a Psalmists verse “From the depths I called You, o Lord” (Ps.130).
Two short episodes having a “quasi a capella” character, intertwined into this development, assigned to piano,
constitute a surrender to the “heavenly verdict”.  Yet towards the end both times they lead to an explosion
and an inner unwillingness to submit. After the last and the ultimate onslaught of the original motive,
led by all instruments in unison, the definitive breakdown occurs, whereupon violin and cello are again united
in a small postscript, or an epitaph.
The emotional storm is gone, only a silent and pure Prayer remains.

The version of the piece for a string-piano trio was premiered in 2007 at the New York Museum of Modern Art by the members of New Julliard Ensemble under Joel Sachs.
Here is the quotation from the NY Times review:

“Mr. Brener appreciates the ease with which a violin and a cello can be made to sing…
the work really comes to life in its central scherzo, “Discussion,” a lively, humorous movement
in which traces of Shostakovich’s accent and energy show Mr. Brener’s Russian roots.”
(The New York Times, July 10th 2007)

Listen to “Triptych”  Version for oboe,bassoon and piano Mov.1 (“Silence”)
Listen to “Triptych”  Version for oboe,bassoon and piano Mov.2 (“Discussion”)