This sonata was written in 2006 at the request of the Kenwood Heriot duo. The idea of writing a sonata for oboe d’amore had been on my mind for some time; to write a piece which would explore the darker sound and characteristic articulation of this instrument. From the rippling piano at the opening, the first movement has a sense of urgent secrecy. Sudden outbursts are immediately reined back in until it melts into a more lyrical center section. Gradually an undercurrent of tension creeps back leading to a return of the opening mood. The Allegro con spirito middle movement with its wide ranging dynamics, quirky rhythms and heartbeat piano bass line continues this conspiratorial mood: a continual tumbling forward momentum finalising with snippets of the first movement piano figuring. A plaintive, slow last movement completes this sonata, the beautiful lyric ability of the oboe d’amore shown to its best in the two outer sections. Sandwiched between, a brighter, rhythmic middle section with ‘neo baroque’ counterpoint looks back to the golden age of the instrument. Crazy juxtapositions of 4 against 3 tumble back into the opening material which in turn reduces to a single unison note between oboe d’amore and piano.