Of all the works of the CD, Blue-Green Hill is the most directly melodic. Its three movements are played with only minimal gaps, each containing melodies that are presented and then developed throughout. The cello introduces the theme of the first movement unambiguously, contrasting melodic flourishes and longer notes that – along with the piano’s repeated chords that soon join – set out building blocks of the movement. These ideas are developed and augmented as melodies interweave across the ensemble. A rhythmic piano solo juxtaposing triplet and quaver rhythms begins the middle movement. The winds and strings enter, providing a rhythmic and melodic counterpoint to this jaunty line and play almost exclusively in rhythmic unison, often moving in parallel lines to create a harmonically rich melodic strain. The piano begins to exchange material with the winds and strings, gradually coalescing on similar ideas until a final section emerges in wh...