Three major works for piano and orchestra by English composers, all eschewing the traditional nineteenth- century model of a bravura virtuoso soloist pitted against an orchestra, in distinctive ways. Together with the BBC Symphony Orchestra under George Vass, Clare Hammond presents an original programme that provides a unique perspective on how the piano concerto reflected musical currents in mid-twentieth-century Britain. William Walton's Sinfonia Concertante for Orchestra with Piano Obbligato began as a ballet score. After it was rejected by Sergei Diaghilev, Walton arranged his score into a leaner, more direct and more effective work that reveals the influences of Stravinsky, Poulenc, Rimsky- Korsakov, Borodin and, at times, Elgar. Benjamin Britten's Diversions was commissioned by the left-hand pianist Paul Wittgenstein. Enthusiastic about the challenge of writing for the left hand, Britten devised a work in variation form; he did not seek to conceal the soloist's one-handedness, but revelled in it while still retaining emotion and grandeur. Michael Tippett's Piano Concerto completes the programme. Inspired by a performance of Beethoven's Fourth Concerto, Tippett was convinced that a contemporary concerto could be written, 'in which the piano is used once again for it's poetic capabilities'. In his work, the orchestra does not merely accompany; the principal players shine when they get their opportunity for solos or close dialogue with the soloist.

'When I'm composing, not only have I to create music, I must also search for the best way of putting it across. It means being on the alert the whole time; writing - then criticizing what I've written - and if it won't do, scrap it and start again - more criticism - and so on until I've done everything within my power to make the music live and flow naturally'. These insights from Grace Williams into her approach to the compositional process show her strong desire to communicate fluently and sincerely with her listeners. Also evident from this quotation is her professionalism, technical integrity and formidable capacity for self-criticism. She held herself and her art to the highest standards, withdrawing and destroying scores which failed to live up to her ideals. It can be inferred from this that she regarded the works which survived elimination as worthy of her musical legacy.

Andrzej Panufnik’s (1914-91) three original works for solo piano, spread out over almost four decades, are all highly crafted, demonstrating the composer’s fascination with mirror forms and symmetrical patterns. + Also included here are two ‘posthumous collaborations’ between the composer and his daughter Roxanna, herself an acclaimed composer, as well as two of Ms. Panufnik’s own compositions. + The young British pianist Clare Hammond devised the present disc for her first BIS release.

For her fifth release on BIS Clare Hammond has constructed an adventurous programme of twentieth and twenty-first-century variations for piano. From the imposing Chaconne by Sofia Gubaidulina, to the tender grief of Paul Hindemith’s variations or Aaron Copland’s bold and uncompromising proclamation, the disc presents a fresh perspective on the genre. Hammond opens with Karol Szymanowski’s Variations on a Polish Theme from 1904, a virtuosic and intensely Romantic outpouring that contrasts strikingly with the wit and irreverence of Helmut Lachenmann’s set on a theme by Schubert. The most recent works in the programme are Harrison Birtwistle’s mercurial elegy and its polar opposite I Still Play, a lyrical waltz composed in 2017 by John Adams. Described as ‘a star interpreter of contemporary music’ (The Observer), Clare Hammond has developed a reputation for imaginative concert programming. As she herself admits in her liner notes, variation form may on the surface appear to be both limiting and limited, but the works she presents here transcend the form in myriad creative, and at times daring, ways.

The 24 Preludes of Adam Gorb (born in Cardiff in 1958 and a feature of musical life in Manchester for over two decades) follow the examples of Chopin and Shostakovich in describing a cycle of fifths – though his descend, whereas Chopin’s and Shostakovich’s go up. Like those earlier exemplars, as also the preludes of Debussy, Rachmaninov and others, Gorb’s are miniature studies of personality and mood – charming, brittle, perky, languorous, bat-flight fast, borderline violent or tender, as required. His Velocity does what it says on the can: it’s a wild, even manic, chase, over rhythmically dislocating ground.

LOOSENING is a double album of five works by award winning composer GRAHAM FITKIN. Each one has the string quartet at it's core but every work includes it's own additional soloist. The string quartet is a really homogenous group, steeped in history and tradition, in which timbrally similar instruments create a well-honed sound through trusted communication and shared purpose. Each work has clearly defined roles for the two protagonists - quartet and solist. Each piece allows for two perspectives, two distinct approaches to the material and yet each protagonist is affected by the other. Approaches often evolve through the works, perhaps the quartet splits their honed homogeneity to focus more on individual constituents or conversely maybe they subsume the incomer into their group creating a larger group. An album of world premiere recordings: Four of the five works have never been recorded before, and the fifth is a new arrangement (also never recorded). DISTIL won the prestigious Royal Philharmonic Society Prize for Chamber Works in 2015.