Album Tracks 1. Introduction, Origins 2. Imagery, Analogy and the Shape of the Things to Come; the Opening Flourish 3. The Unusual Presence of the Double-Bass 4. A Palette of Tone Colours and the Emergence of a Theme 5. Trouble Getting Off the Ground, But the Key Is Not in Doubt 6. Jumping the Quene Schubert Takes a Lesson from Mozart 7. Mozart Demonstrates a Traditional Transition 8. Destination Clarified 9. Mozart Confirms Our Arrival 10. A Schubertian Shocker from a Later Work 11. Rejoining the InchTroutInch, with a Reminder 12. The Piano Joins the Strings with Yet a Third Variant of the Theme 13. A Rhythmic Motto The InchTriplet MotifInch 14. We Get It Here 15. We Get It There 16. We Find It Everywhere, Even in the Double-Bass 17. The Strings' Answer to the Piano's Opening Flourish 18. The Two-Part Structure of the 'Answering Motif' 19. ... But Scarcely Ever the Same Way Twice 20. The Piano and Strings Now Share the Material for the First Time 21. Conversation As the First Principle of Chamber Music 22. Opening (Introductory) Section Heard Complete 23. The Violin and Double-Bass in Partnership 24. The Violin and Piano Swap Roles 25. Transition to Second Main Theme; Triplets Now Everywhere 26. On the Threshold of the New Theme 27. Second Main Theme (A 'Love Duet'), Shared By Cello and Viola 28. The Abandonment of Octaves in the Piano Changes the Tone Colour 29. A Surprising Change of Tone and a Premonition 30. A Return to Lyricism, But the Cello Jumps the Gun 31. A Buoyant, Skipping New Theme Is Given to the Solo Piano 32. Re-Entry of the Strings As the Violin Takes Up the New Theme 33. A Transitional Theme, and Another Schubertian Key-Jump 34. We Sense the Imminent Arrival of the Closing Theme 35. A Sudden, Hushed Key-Change Introduces Part Two of the Closing Theme 36. The Exposition Co