Premiered on March 17, 1999, commissioned by the Japan Society for Contemporary Music, by Ruriko Tsukahara (violin), Yasuaki Itakura (clarinet), and Hirofumi Nagao (piano).

This piece, titled "Triplets," features three instruments collaborating to draw a single string-like line, creating interesting shapes. At other times, each instrument asserts its own distinct character, resulting in an intriguing coexistence of disparate elements. As the composer, Michio Kitazume, likened it to "getting on and off a moving carousel," I believe that by smoothly transitioning one's entry and exit points into the middle of another's phrase, a continuous, string-like curve can be drawn.

The following are notable points of attention from Michio Kitazume. (Bolded alphabets refer to rehearsal numbers indicated in the Zen-On Music Company Ltd. score of "Triplets")

• From two measures before H, the dynamics are ff → pp → ppp per measure. Especially at H, the aim is for a more subdued Tutti (ppp) than the preceding Cl. solo (pp). This is a crucial moment where the blend of sounds needs to be well-balanced. Although ppp is indicated for the Piano, perhaps it's better to play almost nothing?
• The Vn. from I (measure 108) should maintain tension sempre ff until J (measure 117).
• In the latter half of F, the Pf is cresc. ~ f, and then G is sub.p (Vn. remains f).
• At K, each of the three parts is distinct; the Pf should be legato con Ped.
• From before N to the first measure of P, it should be one continuous musical phrase. Especially the Vn. should be more soloistic!
• The Vn. in the third measure of the opening absolutely requires a dim. The subsequent a piacere sections for Vn. should be expressed boldly and excessively, rather than intensely.

From Michio Kitazume (Foreword to "Triplets," published by Zen-On Music Company Ltd.)

Let's imagine several people speaking about the same topic with the same words in the same atmosphere. Even if one concentrates all their energy on imitating another, it can never be "identical" in a strict sense. By having the will to approach each other, conversely, their individual personalities become distinctly highlighted... This is an extremely simple and obvious point, but it is the starting point of this work. Although there are three characters in this work, the title is not "Trio" but "Triplets," representing three identical siblings. The number "3" is also the first step towards various social interactions and the initial digit indicating the possibility of expansion into an infinite universe. This is an ensemble for three instruments with different sound production principles.

Based on a similar concept to this work, I have also composed "Pair Work" and "Twins."                               Michio Kitazume

Quoted and reprinted with permission from the composer, Michio Kitazume.