Among Stephen Dodgson’s portfolio of more than 250 works are chamber operas, of which Margaret Catchpole: Two Worlds Apart is a most striking example. It is based on the true story of a woman who was convicted of the then capital crime of horse stealing and transported to Australia, and Dodgson conveys the romance and drama of the story with characteristic lyricism and rhythmic energy. Words are paramount for Dodgson, and his setting is vivid, immediate and tonal, with some swaggering rustic moments amidst the precise characterization and idiomatic instrumental writing.

The organist and harpsichordist John Worgan (1724–90) was one of the most highly respected musicians in the London of his day: Handel admired his playing, and Burney described him as ‘very masterly and learned’. All that survives of his harpsichord music are a ‘New Concerto’, an independent Allegro non tanto and two collections, one of six sonatas and the other of thirteen teaching pieces, but they encompass an eclectic variety of styles and a surprising range of emotions – proud, spirited, witty, impulsive, touching, vivacious – making Worgan sound something like an English Domenico Scarlatti.

Classical Music

Academy of Ancient Music, Cambridge Handel Opera Company, Cambridge Early Music and Julian Perkins are proud to present the first professional recording of John Eccles’s Semele (c.1707), a notable early setting of the great English libretto by William Congreve better known in a version by GF Handel from 1744. Academy of Ancient Music’s mission is to explore, reveal and preserve the great treasure house of baroque and classical music, and a spirit of newfound discovery runs through all our work. Eccles’s Semele is the next step on this journey, released here on 2 albums an extensive accompanying full-color booklet containing scholarly essays, Stephen Fry’s modern re-telling of the story, autograph manuscript images of Eccles’ score, the full libretto text and much more. A fascinating insight into how opera in England might have developed after Henry Purcell’s death had not Handel moved to London in 1712, Eccles’s Semele is the perfect addition to any baroque-music lover’s library.

Winner of the 1984 Pulitzer Prize for Music, Bernard Rands is well established as a major figure in contemporary music. His music has been described as 'plangent lyricism with dramatic intensity', qualities developed since his studies with Dallapiccola and Berio. Inspired in the 1970's by the then new Van Gogh museum in Amsterdam, Rands researched and sketched Vincent for the next 40 years. Described by the Huffington Post as Rands' 'crowning achievement', Vincent represents much of the great painter's life and in particular the dramatic setbacks of his later years, contrasting the affection of his brother Theo with intese inner struggles, his vicious conflict with Gauguin, and his tragic and untimely death.

Performers: Laurence Perkins (bassoon), Sarah Watts (clarinet), Martin Roscoe (piano), Royal Scottish National Orchestra, Sian Edwards (conductor) - The Duet-Concertino is one of those lyrical, bittersweet scores from Strauss's Indian summer. Laurence Perkins argues that behind the notes lies a hitherto little-known programme-whence the album's title-and that this misunderstood work has good claims to be regarded as Strauss's final tone poem.