On 13 November 2026, Metier is proud to present Distant Horizons from pianist David Palmer, featuring works by Robert Saxton, Thomas Metcalf, and David Palmer himself. David Palmer and Thomas Metcalf met through Robert Saxton when they were both his students at Worcester College, Oxford, and have worked on projects together continuously over the past decade. The album is an exciting multi-layered collaboration exploring and visualising themes of fragmentation and the intangible through the language of music, and reflects the close collaborative friendships between the three composers. As students, Thomas Metcalf and David Palmer were inspired by Robert Saxton's music, the rigour of his process, and his respect for and commitment to the craft of composition. This album stands as a reflection of those values while displaying the evolution and development of their own compositional voices. Saxton's work 'Distant Horizons' was commissioned by and dedicated to David Palmer: it's seven movements each address an aspect of the title, exploring distance in music, whether that be in registers, intervals, harmony, or melody, and the idea of moving towards something ungraspable. 'Distant Horizons' is a radiant, intricate, and engrossing work, demonstrating all the aspects of Saxton's imaginative and technically masterful music. Saxton's music provides a gateway to the pieces by Thomas Metcalf and David Palmer, which are more fragmented and modernist, but also illuminating and colourful. Metcalf's two pieces 'Arrays' and 'Involuntary' are separated by five years and display his fascinating compositional journey of aesthetic and technical exploration. 'Arrays' considers how a varyingly pixelated text can be used to create musical structure and material, a playful interpretation of what 'word-setting' really entails. The work was highly commended by the jury of the Royal Musical Association's Tippett Medal (2023). 'Involuntary' contemplates involuntary musical imagery (INMI): the phenomenon known colloquially as 'earworm', aiming to translate Metcalf's experience of it as an annoying transient memory into a single work for piano. David Palmer's own innovative piece demonstrates his ever-searching mind both as a performer and as a composer. 'Twine' takes it's name from the method of it's construction: multiple independent lines intertwined to form a single tightly bound strand which then gradually frays. After early advice and support from Benjamin Britten, Robert Saxton studied with Elisabeth Lutyens, Robin Holloway, Robert Sherlaw Johnson and Luciano Berio. He was awarded first prize at the 1975 Gaudeamus Competition in Holland and, from 1985-86 was the Fulbright Arts Award Fellow at Princeton University, USA. His output includes orchestral, chamber, and solo music, and opera, through which he has collaborated with many major artists and ensembles. He is Emeritus Professor at Oxford University. Thomas Metcalf is a musicologist and composer specialising in music, visual art, and intermediality, and is currently the Christopher Cox Junior Research Fellow at New College, Oxford. David Palmer is a London-based composer and pianist specialising in 20th- and 21st-century repertoire. He is a College Lecturer in Music at Keble College, Oxford, and at the Royal College of Music Junior Department.

Metier presents the world premiere recording of Sinan C. Savaskan's captivating Concerto Eleven Conditions of Responsibility, written for and performed by the Octandre Ensemble, under conductor Jonathan Hargreaves. Savaskan has had a long association with the ensemble, having served as their inaugural Composer-in-Residence. Conceived as part of the composer's ongoing epic cycle Many Stares through Semi-Nocturnal Zeiss-Blink, Eleven Conditions of Responsibility embodies Savaskan's radical approach to composition. His constructivist methodology means that all the parameters of his music are dependent on the formal architecture, itself based on the behaviour and properties of sound and it's circular, logarithmic characteristics, giving rise to intricate, evocative works. During the COVID period when everyday life was so different, Savaskan read works by Henri Bergson and emile Durkheim, scholars from the turn of the 19th century, altering the way he thought about the fourth dimension - 'duration' (rather than time), space, and our attitude to commitments, therefore responsibilities. Savaskan came up with eleven of his own responsibilities, and became aware of how we conceptualise and adopt them. This became the basis for eleven thematic segments spread across the 3 main sections of the Concerto, 'little icons, as it were, to meditate upon', which each have their own fundamental pitch and related pulse. Circular Functions, the particular harmonic/structural method he has developed over the past 45 years, dictates how these segments are integrated into the three larger harmonic arcs. The three sections of 'Eleven Conditions of Responsibility' are modules 141, 148, and 11 of the cycle Many Stares through Semi-Nocturnal Zeiss-Blink, projected eventually to contain 360 pieces, reflecting the contemplation of a particular static object from different angles, covering 360 degrees. The pieces are assigned numbers which refer in some way to important dates in their conception. In December 2015, Savaskan's Many Stares through semi-nocturnal Zeiss-blink (Module 30), an Octandre commission, won a BASCA British Composer Award. Sinan C. Savaskan is based in London, as a composer, lecturer, and teacher of composition, and was Head of Academic Music at Westminster School for thirty-seven years. His music has been commissioned, performed, and broadcast in over thirty countries by some of the foremost performers, ensembles, and orchestras. In 2000, Savaskan was selected as the recipient of the Foundation for Contemporary Arts' prestigious Grants to Artists Award - the first British composer to receive this award. He has also written much ballet and incidental music, as well as music for film. In 2025, Metier Records released Sinan Savaskan's album of music for solo flute and electronics, The Sleep of Reason, with celebrated flautist Noemi Gyori, an arresting collection of works exploring the full expressive range of the flute. The Octandre Ensemble was formed in 2011 by composer Christian Mason and conductor Jon Hargreaves, their core repertoire being music written after 1945, with an emphasis on timbre and ritual. ?

In September 2026, Metier Records presents an outstanding contemporary release - the complete acknowledged output for solo piano by Romanian composer Horatiu Radulescu, performed by premier Metier artist Ian Pace, a world-renowned interpreter of new music. Pace knew and worked closely with Radulescu for two decades and gave the world premiere of the Piano Sonata No. 6, specially written for him. The 2-CD set includes authoritative recordings of all six piano sonatas plus Omaggio a Domenico Scarlatti (1967) and The Origin p (1999), and an excellent, extensive article on these works by Ian Pace in the booklet notes. Horatiu Radulescu was the leading figure in the field of Romanian spectral music, which derives massive, overwhelming sound masses from the very basics of harmonic spectra. In the second half of his career, he combined this with Romanian folk music and Byzantine chant, often in startling contrapuntal combinations employing techniques developed during the European Renaissance. The first Piano Sonata 'Wiege an den Abgrunden/Cradle to Abysses' (1968) from his early student days in Bucharest alludes to Liszt's final Symphonic Poem and features dramatic and austere music evoking a multitude of 'Abysses'. The remaining five are all closely linked and collectively known as the Lao Tzu Sonatas, inspired by the Taoist philosopher. Their chant-like or folk-derived materials are continually juxtaposed with more abstract spectral harmonies, derived in part from Radulescu's earlier idiom. They retain traces of song, ritual, and dance, but they are also transformed into something larger: continuous bodies of resonance, rhythm, and colour. The Second Sonata, 'being and non-being create each other' (1991), composed 23 years after the first, is viewed as ushering in Radulescu's 'second period'. The Third Sonata, 'you will endure forever' (1992, rev. 1999), the largest of the six, is the first of Radulescu's piano works to draw explicitly upon pre-existing musical materials, specifically Byzantine chant. In the Fourth Sonata, 'like a well older than God' (1993), Radulescu makes prominent use of three different Romanian Christmas carols, all originally collected and set by Bartok. The Fifth Sonata, 'settle your dust, this is the primal identity' (2003) employs a wide range of Romanian folk melodies. The Sixth Sonata, 'return to the source of light' (2007), was Radulescu's last completed work, and premiered by Ian Pace. Omaggio a Domenico Scarlatti (1967) from the composer's student days in Bucharest displays many aspects of post-war modernism and connects to the scale and performing features of Scarlatti's keyboard music. The piano piece The Origin p (1999) is Radulescu at his most uncompromising with what he calls 'spectral resonance' created by metal bars holding down all black notes and most white ones. Radulescu was born in Bucharest and studied violin with Enescu pupil Nina Alexandrescu at the Bucharest Academy. During this period, a shift came about from the dominant neo-classical style towards a greater engagement with European modernism. Radulescu graduated in 1969 and went to Paris, taking French citizenship in 1974. After this, like other emigre Romanian composers, his music was barely played at all during the remainder of the communist era.

September 2026, Metier Records presents Cliff Edge from Irish-born composer David Wallace: a striking new album of six works that illuminate his distinctive approach to material-led composition. Scored for forces ranging from solo bass clarinet to mixed chamber ensemble, the album presents a world where musical ideas behave like living organisms - shifting, resisting, and revealing themselves through pressure and transformation. The performers include Heather Roche, Chenyin LI, Jean Kelly (harp), James Widden (violin/viola), Heather Holford, and other leading UK and international soloists and chamber musicians. Wallace's compositional style blends classical elegance with modern innovation, often including elements of traditional Irish music, at times also featuring extended techniques or electronics. His music takes shape organically, instinctively allowing the music to go where it wants emotionally, balancing tradition with a fresh, contemporary perspective to create a unique voice. The pieces on Cliff Edge were written between 2006 and 2025 for different performers and circumstances, yet they share a common thread: each begins with a musical material that finds it's own path throughout the piece. These materials can be as simple as a grain of an instrument, the weight of a harmony, the friction between two lines, or the memory of a place. Some are intimate gifts; others are studies in instability or quiet acts of devotion. What unites them is a belief that music has it's own agency - that if you listen closely, the material will show you how it wants to unfold. At the heart of the album is the title work, Cliff Edge, a turbulent and finely etched piano piece that explores instability as a structural force. Surrounding it are five contrasting but deeply connected works: the fragile, breath-driven L'Oiseau mis en cage for bass clarinet; the ritualised, keening energy of Banshee for harp and voice; and H.B.J.W., a theme and five variations for violin and cello, written as a 50th birthday gift. The album also features Five Vignettes from the River Avon, a set of distilled landscape impressions for clarinet and basset horn, and Canticles, a luminous triptych for harp, flute, clarinet, and string quartet that closes the disc with a sense of quiet devotion. 'These works are not stories,' Wallace writes. 'They are environments. Each one begins with a material that behaves in a particular way, and the piece grows from listening to that behaviour.' David Wallace studied at the Guildhall School of Music & Drama with Richard Baker and in Ireland with Rhona Clarke, and his music has received international recognition, including awards from Boston Metro Opera and the Tracey Chadwell Memorial Prize. Residencies at the Guildhall School, the Cork School of Music, and Clapham Chamber Concerts have shaped his distinctive voice, and his works are performed widely in the UK and abroad. He is Head of Junior Music Courses at the Guildhall School.

On 7 August 2026, Metier Records is excited to present Sinner, Don't Let This Harvest Pass from rising pianist Joseph Havlat, featuring music by Michael Finnissy, Cassandra Miller, and Robert Schumann. This ground-breaking album includes Schumann's Geistervariationen (Ghost Variations), Finnissy's response, or allusions to, this work in his RS Geistervariationen, and Miller's Philip the Wanderer as well as the title work, Sinner, Don't Let This Harvest Pass, a rare co-composition between Finnissy and Miller, based on the well-known Afro-American spiritual. The compositions and working styles of Finnissy and Miller are a natural fit for this collaboration, the result of their long-standing friendship and correspondence. Transcription is another thread tying the works on this programme together, each composer having a unique approach. Finnissy's RS Geistervariationen (2021) contains large transcription sections of Brahms' piano duet Variations on a Theme by Robert Schumann, Op.23 and is heard alongside Schumann's original Geistervariationen. For Michael Finnissy, this process is in itself composition - he's working with the material as if it were his own, like portraiture seen through multiple lenses. As Joseph Havlat observes: 'These passages of transcribed Brahmsare melded and fused with Finnissy's own voice, creating ghostly echoes of bygone music, just as the variations themselves are ghosts of the original theme, and Schumann's theme a ghost of something else heard as well.' In between the variations are heard a series of Tropes in Finnissy's own compositional approach, acting as a musical commentary. Cassandra Miller started to write Philip the Wanderer (2012) in Canada but continued in the UK during a period of mentorship under Finnissy. Viewed by the composer as more of a 'translation' or 'adaptation' than a transcription, it draws it's source material from Mandowa II, a recording by Mozambican musician Zhukake Masingi, of which Miller generated a rhythmically hyper-rigorous computer-generated MIDI transcription. The three-movement piece reflects the rhythmic pushing-and-pulling found in the recording, with it's danceable and ultimately joyous irregularity. For their collaborative work, Sinner, Don't Let This Harvest Pass, inspired by the spiritual sung by the great Marian Anderson, Finnissy and Miller wanted to capture something of the 'inflections' and the 'mood' of her performance and not just the tune itself. They wrote alternating sections, Cassandra Miller going first and Michael Finnissy following her tonal theme, not imitating each other but more like a slow-moving conversation, mirroring their own dialogue as they created the piece. Michael Finnissy is widely regarded as one of Britain's most important living composers and teachers, his prolific output including solo instrumental, chamber, and choral works as well as songs and works for stage. To mark his 80th birthday earlier this year, Metier released a 10-volume digital box set, Michael Finnissy: The Complete Metier Collection from 1998-2026. The composition methods of Canadian-British composer Cassandra Miller incorporate unique meditation-based practices, and her works have been performed by ensembles and orchestras across the UK, Europe, and the US. 'Music this uncalculatedly beautiful leaves you almost desperate with gratitude' -Alex Ross, The New Yorker. Australian pianist and composer Joseph Havlat is based in London. A leading interpreter of modern and contemporary music, he performs as a soloist and chamber musician in major concert venues around the UK, Europe, America, Japan, and Australia. He currently teaches piano and composition at the Royal Academy of Music. His previous recording of Michael Finnissy's vocal music, Alternative Readings with Lotte Betts-Dean and the Marsyas Trio, was released on Metier.

In July 2026 Metier is delighted to present Lieder Zyklen (Song Cycles) by contemporary Swiss composer Thomas Fortmann. Featuring settings for voice and piano trio of poetry and text by writers including Hugo von Hofmannsthal, Christian Haller, Prolitheus Pfenninger and Fortmann himself, these works demonstrate the composer's eclectic and unusual style that combines postmodern music, serial techniques, rock and jazz. The Swiss tenor Tino Bru¨tsch and Swiss soprano Nuria Richner perform alongside the Trio Accademia Amiata and a Trio of soloists Malwina Sosnowski, Donitille Jordan and Talvi Hunt. The album also includes Fortmann's Hommage to Schubert's Winterreise and his arrangement of this iconic song cycle for baritone and string quartet is given a powerful performance by Florian Prey, son of the great German baritone Hermann Prey alongside the Amar Quartet. Fortmann's setting of the intriguing poem Am Ende des Flurs (At the end of the hallway, 4th floor) by his close friend, Swiss Literary Prize Winner Christian Haller, is followed by The Hofmannsthal Verses. Composed in his early twenties as striking rock songs to poetry by Hugo von Hofmannsthal, who became the librettist to Richard Strauss, the lyrics are a collage of Hofmannsthal poems Fortmann found moving for their linguistic power and their social and political statements. Geschichten (Histories) are concise, short songs that intertwine the timeline of a love relationship with that of human history and dimensions of the cosmos. The Prolitheus Songs are based on e-mails from the extraordinary visual artist Prolitheus Pfenninger, complex and often laden with double meanings and wordplays. Schubert was the favourite composer of Fortmann's mother, a well-known soprano - she often sang his songs to him and his sisters, and the music's sensitive emotions resonate deeply. The Hommage an Schubert's Winterreise, Der Su¨sse Ton (the Sweet Tone) is Fortmann's setting of a text collage from Joachim Ringelnatz who often referred to Schubert in his poetry, passages of text from Eduard von Bauernfeld on Schubert's funeral and excerpts from poetry of Schubert himself. The Homage opens with a typical rock riff, reminiscent of how Schubert drew on popular rhythms of his time, and the work refers to the songs of Winterreise in various ways, some of them hidden in contrapuntal forms. Despite the different compositional techniques throughout Fortmann shows his musical-emotional kinship with Schubert. Recreating Winterreise for voice and string quartet was a delicate task of reassembling the work while trying to stay as faithful as possible to the original. Fortmann sought to recapture the mood of the songs, their simplicity and touching directness, and to achieve this with a string quartet some modifications were necessary including extra notes that do not appear in Schubert's original. In the 1970s Thomas Fortmann had a very successful career as a writer of rock music - and also as an international golfing star! At age 26 he abandoned this career to study formal composition which laid the foundation for an extensive body of work that includes chamber music, operas and musical theatre, orchestral, choral, and organ works, as well as several song cycles. Fortmann's distinctly personal style often unites different - and sometimes opposing - impulses of modern music. Lieder Zyklen marks the sixth release of his music on the Metier label.

July 2026, Metier presents David Hackbridge-Johnson's A Pocketful of Tunes, a collection of fascinating works for solo violin and viola written for and performed by internationally acclaimed violinist Peter Sheppard Skaerved, resulting from their friendship and hugely creative collaborations. All the works are inspired by, written for and recorded on great historic instruments, bringing the past vividly alive. There are joyful dances and elegant suites evoking dance movements of the Baroque and Roccoco eras alongside works responding to modern life, a showcase of David Hackbridge-Johnson's wide range of techniques. Hackbridge-Johnson started attending Peter Sheppard Skaerved's London Church Concerts in 2019 and the two soon formed a friendship around shared passions of literature, history, and railways. Many pieces emerged from these concerts which stem from Peter's deep interest in violin composers, their lives and instruments and the buildings they played in. There are three works for solo viola, all recorded on the oldest known English viola, the extraordinary Rayman 1641: the sonic commentary on abandoned railways Three Disused Stations, the dance based Seven Versets and Three Preludes. All of these showcase the instrument's glorious dark woody tone. The Rayman was made in Southwark in 1641 at the time the 'south bank' became London's entertainment hub. Peter felt that "this instrument is a direct link, a portal even, to London's greatest theatrical age, to the thunderous musicks of Shakespeare, Webster, and even... Marlowe.." Six Preludes for Charles II were inspired by a London violin, the Charles II '1664', after hearing Peter play it at St Margaret Lothbury, the medieval church rebuilt by Wren after the fire of London. The 'Six Preludes' balances these various pasts and the present, forming a suite that could have been written by a composer of that time. On this recording the Preludes are played on a 1629 Girolamo Amati violin, as are all the works for violin on the album. Inspired by Peter sharing a comic story of 18th century violinist Will Rosin, who like Peter resided in Wapping, David wrote the Will Rosin of Wapping suite, with extracts from the Tatler Volume 1709 story read by David in between each movement. Some works were written in the span of less than 24 hours, including Alleyway, Pastoral, River Falls. On a visit to Wisconsin Peter shared a photo with David in the morning to which David spontaneously responded with a new work that Peter performed that night in a concert! Divisions on Mr Simons' Prelude was inspired by hearing the exquisitely melancholy F minor Prelude (1700) by the mysterious 'Mr Simons' at one of Peter's City Church concerts in 2021, after emerging from 18 months of lockdown. David felt "That beautiful F minor thread reaches out to us over the centuries" and he used the prelude as the basis for a set of variations. Playing for dancing was always a key function of the violin and was driven by developments in the ballroom, country-dance and hop. A Pocket Full of Tunes was inspired by a French dancing-master's piccolo violin, played here on a 'full-size' Amati. Violinist Peter Sheppard Skaerved is acclaimed internationally for performances and recordings of a vast range of solo repertoire from the late 16th century to hundreds of works written for him by major composers to the many young composers with whom he collaborates worldwide. David Hackbridge-Johnson is a multi-instrumentalist, conductor, recitalist and writer as well as composer. Among his 600 or so compositions are eighteen symphonies, over a dozen tone-poems and concertos, and hundreds of songs and chamber pieces. His most recent commissions have been operatic including Blaze of Glory!, written for the 75th anniversary of Welsh National Opera.

July 2026, Divine Art presents Set Two for Piano from visionary composer Eric Craven, the latest in a series of releases showcasing his 'non-prescriptive' method of composition. This unique method features different levels of notation allowing the performer varying degrees of freedom to manipulate choices around a set core. The composer states that his hope is "to reward any pianist with even modest ability with immediate success" (Pieces for Pianists Vol 1 & 2) in creating something beautiful and expressive while also providing a challenge to more accomplished pianists to explore new territory. Irish pianist Mary Dullea is Eric Craven's collaborator on all these recordings and in Set Two for Piano she brings her long experience of realising Eric's music to her wonderfully instinctive performance. This new collection offers 12 hugely enjoyable pieces that are more expansive than the previous SET, each plainly numbered without named titles. They reference a range of different styles, from toccata-like study to jaunty waltz, often with a backbone of jazz, and all varying from low-, middle- to high order notation, the levels of non-prescription with which Craven presents the score. Low-order refers to music that appears with pitch and rhythm plus bar-lines; high-order is only pitches; and middle-order somewhere in between. There are no other details given such as tempo, time-signatures, dynamics, articulation, character, or duration. "... there is a day when the recording must be made with that version of the piece committed to a presence in the world for others to hear! Essentially I am pushed to make decisions about the performances at every moment; one might say that this is part of the spontaneity of the act of performance anyway but what is particular to this is that, apart from pitches and rhythms... I aways have the choice to do something else. So, the journey from first receiving a score to defining one interpretation is a combination of experimentation and control." American Record Guide has previously said of the collaboration between Eric Craven and Mary Dullea: "the result of this artistic input from these two musicians is of true artistic alchemy". "Much of Set for Piano is abrasively wantonly tonal - abrasive in the sense that Craven's tonality is literal and daringly untreated; triads shocking in their nakedness... He cuts across stylistic allegiances, those same old same old allegiances that box so many composers in." Philip Clark, Gramophone. Manchester-born Eric Craven has left little musical footprint. He has composed since his teenage years but has rarely sought to introduce his music to a wider audience through performance or publication. The original SET was the first of his 'non-prescriptive' compositions to be recorded after Craven was persuaded by leading and eminent pianists to make his work available. This was followed by Entangled States, a set of forty-eight short pieces and two volumes of Pieces for Pianists - a collection intended to present more immediately accessible scores to a wider audience of pianists. Also released on Divine Art were his highly acclaimed Piano Sonatas 7,8 and 9, also with Mary Dullea. Mary Dullea enjoys a very busy career as a soloist and chamber musician and regularly performs and broadcasts internationally. Her exceptional discography demonstrates her support and championing of new music, and her pianism, musicality and remarkable virtuosity make her an ideal interpreter. She is currently Director of Performance at Royal Holloway, University of London, where she is also a Professor in Music. She has collaborated with Eric Craven for many years, with a number of releases on Divine Art and Metier.

New French Song has created a whole new repertoire of songs by British composers. The artists commissioned twenty exceptional British composers, some of whom were well established, others of whom were yet to receive the recognition they deserve. The composers were asked to set French literature of their choice from the past two hundred years. The result is a fascinating rainbow work covering all the major literary movements of the nineteenth and twentieth centuries, overlapping into the twenty-first century - Romanticism, Symbolism, Surrealism, Cubism, Modernism and post-Modernism.

Works for solo flute by some of the most respected British composers of the present day - performed with consummate skill on a variety of instruments by the virtuoso flautist Nancy Ruffer, who has been at the forefront of contemporary flute interpretation, giving numerous first performances - including the UK premiere of Ferneyhough's Superscriptio at the Queen Elizabeth Hall - and commissioning new works from composers such as Chris Dench, Michael Finnissy and others.

Keith Barnard is a British composer whose music, rooted in spiritual exploration, both Eastern and Western, and is what is generically and rather loosely called "New Age" but which description does his thoughtful and deeply felt compositions a disservice. This world premiere recording is finely executed by American pianist Jeffrey Grossman.

The music on this album is rooted in the music of Herat, Afghanistan, which both Veronica and John studied in the 1970s. Abdul grew up in Herat and has performed this music throughout his career, so he knows it intimately. The music captures an era of peace and normality, seen by many Afghans as a golden age before the recent turmoil, upheaval and war.

Michael Finnissy is amongst the most celebrated of contemporary British composers and his music is featured on many of our CDs. This selection of works for chamber group and solo instruments written between 1977 and 1990 displays both his formidable talents and those of Topologies. These pieces are inspired by the disappearing musical cultures in places affected by ethnic cleansing (Kurdestan and Azerbaijan) and "discredited" musical styles such as free jazz and expressionism.

Eight piano works by McCabe, now one of the most respected figures in British music, played by Gramophone Magazine award nominee Tamami Honma. "A splendid release. Make no mistake: Honma is a superb player. The composer provides his imprimatur of her in the booklet, but hearing her one appreciates immediately how technically able and interpretatively alert she is. Very strongly recommended." - Guy Rickards (Gramophone)

Christopher Fox is one of the leading lights in British contemporary music. He wrote four pieces with the title "Straight Lines in Broken Times" - this is the second (the third is included on Metier msv 92059).Each piece, though otherwise totally independent, spins it's music out of a continuous stream of notes. The other major works on this album are all expertly performed by the Ives Ensemble.

This is a disc of music for chamber ensembles and solo performers written by two of Britain's leading women composers, who also happen to be mother and daughter. Sparklingly presented by Okeanos, comprising several leading contemporary music performers.

The solo piano music of Ives represents an extraordinary achievement. Experimental is a word often associated with it. But experimental in what sense? Certainly he was exploring a wholly unique and personal style. Ives' music is by turns, exploratory, powerful, sensitive and transcendental always wholly consistent within it's own, sometimes highly unusual terms. These qualities are there in abundance in his two crowning achievements the first and second sonatas. The studies and others orbit round these like planets to twin suns. VOTED GRAMOPHONE MAGAZINE TOP CHOICE 2012 (for the Concord Sonata)

Emsley's music relates to time and timelessness. To Kantian philosophy to conceptual thought to nominal reality. In simpler terms, music itself can transcend time, being the universal language of Pythagoras and modern science - the Divine Art. Played by Topologies, one of the UK's foremost contemporary music ensembles, and featuring Ian Pace on solo piano tracks.