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The initial version of Idyll was composed in 1972 as a much shorter piece for keyboard and soprano recorder, intended as a practice piece for the composer's students. It was expanded into the present trio by the composer in 1999.
Expression: The mood is calm, quiet, and almost enervating except for a few moments when a more active inclination is (perhaps vaguely) hinted at. Because of the contrapuntal character of the piece and the frequent open intervals, one might think of (almost) the style of Palestrina. However the context should not be church-like, but highly sensuous throughout.
Slurs and Phrasing: This composition is characteristically lyric in style, legato throughout except for a few brief staccato passages. Slurs should be generally honored, but some liberties may be taken. If a slur is not followed exactly, the notes should be tongued legato to maintain the continuity of the phrasing.
Melody and Harmony: The music is essentially contrapuntal, that is, the harmonies primarily evolve out of the melodic lines of the three instruments. Thus with the exception of the opening bars and some held notes, each instrument should share equally in representing the melodic texture. The harmonic structure is modal, not in any traditional key, and relies frequently on chords of the perfect intervals (fourths and fifths).
Accidentals: Follow the strict rule that an accidental applies only to the measure in which it occurs.
Meter: The composition moves between triple and quadruple meter. This helps create the mood of ennui and calm. Although some sections are clearly marked as either 3/4 or 4/4, there are occasional places where the rhythm changes from measure to measure. The value of the quarter note remains constant throughout meter changes. Dynamics will generally follow the natural tendency of the instrument with respect to the pitches of the notes being played.