Many of Bush's best-known works were written in the immediate postwar years. Anthony Payne described the "Three Concert Studies for Piano Trio" (Op. 31) of 1947 as exceeding Britten in its inventiveness, "a high-water mark in Bush's mature art". The Violin Concerto (Op. 32, 1948) has been cited as "a work as beautiful and refined as any in the genre since Walton's". Foreman considers the concerto, which uses twelve-tone themes, to be the epitome of Bush's thematic theory of composition, although Bush's contemporary, Edmund Rubbra, thought it too intellectual for general audiences. The "Dorian Passacaglia and Fugue" for timpani, percussion and strings, (Op. 52, 1959), involves eight variations in the Dorian mode, followed by eight in other modes culminating in a final quadruple fugue in six parts. "Musical Opinion"s critic praised the composer's "wonderful control and splendid craftsmanship" in this piece, and predicted that it could become the most popular of all Bush's orchestral works.