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Composing in Words: William Alwyn on his Art

Edited by Andrew Palmer
Extent: 300 pages
Composition: Royal octavo
Illustrations: 26 b/w

Comrades in Art: The Correspondence of Ronald Stevenson and Percy Grainger, 1957-61, with Interviews, Essays and other Writings on Grainger by Ronald Stevenson

Ronald Stevenson, Percy Grainger
Edited by Teresa R. Balough
Extent: 300 pages
Composition: Royal octavo
Illustrations: 45 b/w

Recording my Tone Poems in Liepāja

The first thing I noticed was the trees. Once we were out of Riga airport, they soon crowded up to the edge of the road;…

Buxtehude by Arrangement: The Stradal Transcriptions

Busoni’s transcriptions of Bach have long been one of the mainstays of the piano repertoire. Bach himself worshipped the music of the Danish-born Dieterich Buxtehude (c. 1637–1707), famously walking 250 miles to Lübeck to hear him play. The Liszt student August Stradal (1860–1930) obviously shared that admiration, transcribing ten of Buxtehude’s most imposing organ works for piano, thus creating alongside ‘Bach-Busoni’ a corpus of grandiose – and virtuoso – Baroque music for the modern concert grand that has somehow remained almost entirely unknown.

Meilin Ai, piano

John Pickard: Songs for Voice and Piano

The English composer John Pickard (b. 1963) is best known for a series of powerful orchestral works, five symphonies among them. But this album of songs – his complete output for voice and piano to date – demonstrates that he can generate drama on a smaller scale, too. These settings – of two less familiar poets of the First World War, often exploring man’s relationship with nature, and a translation of a ninth-century Anglo-Saxon phantasmagorical allegory – encompass a wide range of moods, requiring soaring vocal lines, declamatory authority and the gentlest intimacy, supported by piano textures that can are up in freewheeling virtuosity.

Roderick Williams, baritone (Tracks 1-5, 7-15)
Eve Daniell, soprano (Track 6)
Simon Lepper, piano