Save perhaps for the slightly naughty inclusion of a meaningful French folksong somewhere in the texture during the coda, there are no motivic allusions or musical codes à la Robert and Clara. The music is as pure and loving as I knew how to make it, though in the instance of variation 3, the composer-pianist in me couldn’t resist welding the theme to an extended passage from the last movement of Beethoven’s Sonata in E major Op 109, one of Cathy’s favourite pieces, by the one composer she could never do without.
from notes by Marc-André Hamelin © 2010