The work is in three movements (Demon, Angel and Regrets). Demon, the shortest movement of the work, opens with a rhythmical gesture from the piano, soon joined by the strings. This moderately fast movement is actually some sort of whimsical Allegretto sometimes of Russian flavour. Reviewing David's First Symphony, the composer Arthur Butterworth remarked “that Golightly might well be a British Shostakovich”. Indeed, the Piano Trio calls the Russian composer to mind, particularly so in this slightly ironic movement that rises up to a short-lived ghostly climax abruptly cut short.

Angel opens mysteriously with ethereal static string textures softly punctuated by the piano. Later, the string's sustained notes are gently accompanied by piano arpeggios. Then the strings, and later the piano, make some unsuccessful attempts at a tune, hesitantly so and with some glissandi contradicting the attempted melody. Eventually, the cello, followed by the violin, launches a sorrowful lyrical song, still disrupted by nervous interjections eventually short-lived.The Angel movement, though remains emotionally and harmonically ambiguous throughout. It too ends unobtrusively.

The Demon and Angel movements actually act as a twofold introduction to the last movement "Regrets" that is some sort of theme and seven variations, "a series of letters, written but not sent",as the composer remarks. This predominantly lyrical, often nostalgic movement is the emotional heart of what is obviously a deeply personal statement on the composer's part.

Golightly's Piano Trio is a superbly crafted, beautifully moving work, not unworthy its models (Shostakovich or John Ireland), and a highly personal, quite accessible work of substance that deserves wider recognition and that should be eagerly picked-up by trios willing to add a new substantial work to their repertoire.

Hubert Culot