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Clover composed by Jaume Torrent. For violin, viola or cello and guitar. Published by Editorial de Musica Boileau (BO.B.3687).

In recent years one of the guiding principals of my work as a composer has been the creation of a repertoire of chamber music in which the guitar is treated as a concert instrument and also provides the harmonic basis for the music.

Firstly, it is my belief that the special polyphonic capabilities of the guitar can lead to the creation of a unique chamber music repertoire in which the limitations of the instrument are surpassed by the musical dialogue being shared among the various instruments. Secondly, bringing the guitar together with other instruments historically used in chamber music not only benefits the guitar but also allows the guitar to bring to the music different harmonic qualities, distinctive melodies and rhythms and gives the music a unique expressive richness not found in traditional chamber music.

The trio Clover was inspired by the small and beautiful plant of the same name. The three movements of the work (the characteristic three clover leaves) are structured according to the classic form: "lively-tranquil-lively". The first movement is full of robust determination, the second alludes to the subtle rhythm of a siciliana and the third movement is a scherzo. The work was premiered by Paganini Trio (Joseph Gold, Debbie Dare and myself) during a tour of California (USA) using a Stradivarius violin made in 1690.

Lastly, I would like to insist-yet again--on the importance of the fact that guitar technique must be geared to fully utilize the level of volume of which the instrument is capable. With an adequate technique (see "Estudio y sistematizacion del conjunto de recursos que posibilitan el desarrollo de una buena tecnica guitarristica" [Systematic Study of the Various Resources That Contribute to the Development of a Good Guitar Technique] by J. Torrent -Ed. Boileau), a guitarist is capable of controlling the volume of which the instrument if capable without renouncing the level of volume that is required. Thus, a guitarist may use a wide range of dynamics, giving the player greater expressive possibilities and is thus able to integrate easily within chamber music groups without forcing the other instruments to lower their normal level of volume.

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