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Werner Heinrich Schmitt: Piano Works, Chamber Music and Songs

Werner Heinrich Schmitt, born in Mannheim in 1961, began to study the piano in boyhood, and soon started to compose as well. Since then he has earned his living as a pianist, writing music as time permitted. This first album of his works reveals a composer of considerable substance, particularly in the two moving song-cycles that book-end this album. The sensitivity and resourcefulness of Schmitt’s aural imagination are confirmed in the chamber and piano pieces heard here. Some are infused with joy, others with sorrow, but they all speak a musical language that aims to speak to the listener directly.

Anke Vondung, mezzo-soprano
Alan Valotta, clarinet
Rüdiger Adami, cello
Clara Schumann Quartet
Christoph Berner, piano
Werner Heinrich Schmitt, piano

Jack Stamp: Music for Brass Band

Born in Maryland in 1954, John Stamp – universally known as ‘Jack’ – is a well-known figure, both as conductor and composer, in the symphonic wind-band movement that flourishes in US universities. But the sound of the brass band familiar in the UK has long been an enthusiasm, and his involvement with brass bands on both sides of the Atlantic – particularly the Minneapolis-based Lake Wobegon Brass Band, which takes its name from Garrison Keillor’s fictional Minnesota town – has generated a number of works which bring elements of the British brass tradition to audiences in the US Mid-West, imbuing them with a catchy rhythmic swing.

Steve Ecklund, horn
Bill Chouinard, organ
Lake Wobegon Brass Band
Michael Halstenson, conductor

Performing Wagner

USE CODE BB110 at Boydell & Brewer to save £35!

A Singer’s Perspective on the Major Tenor Roles

by Stephen Gould and F. Peter Phillips

Foreword – Katharina Wagner
Introduction – F. Peter Phillips
154 Pages
Hardcover
23.4 x 15.6 cm
25 colour and 22 b/w illustrations

Gerald Hendrie: Complete Organ Music, Volume Two

The organ music of Gerald Hendrie – born in England in 1935 but resident in France since 1996 – encompasses a huge range of influences, among them the organist-composers who went before him (not least Franck, Dupré and Messiaen), dodecaphony, mediaeval plainchant and modality and jazz. The resulting works are as varied as the styles that fed into them, from grandiose to gentle, from severe to whimsical, from lyrical to lively. The mighty, 25-minute Sonata: In Praise of Reconciliation uses whimsical references to two cities bombed in the Second World War – the ‘Coventry Carol’ and the ‘Dresden Amen’ – to make a monumental plea for peace.

Tom Winpenny, organ of St. Albans Cathedral