Spin centres on just two core cyclic patterns, which organically interact and “spin” around each other over the course of this nine-minute, single-movement, work. The piano is often treated separately from the violin and violoncello, with seemingly independent music in the opening section; however, this divide steadily breaks down as we are led from the stormy and expressive opening through the ethereal central third. We are then led back to the material of the opening and into a climactic coda with grand echoes of the chamber music of Brahms. This then fades away, as the music runs itself out to silence.