In this thoughtful collection of chamber music, Ian Stephens' work reveals a rare balance of melodic clarity and inventive disruption, qualities that have drawn artists like Cate Le Bon, Ian Broudie, and OMD to his arranging talents. Here, Stephens' signature rhythmic vigour, theatrical subtlety, and knack for weaving unexpected moments define each piece, creating a body of work that intrigues as much as it soothes. Celtic Elegy for clarinet and cello sets the tone with a gentle homage to Celtic traditions. Initially inspired by the Irish air She Moved Through the Fair, the piece unfolds it's own melody through understated layers, mirroring the drones and ornamentation of Scottish bagpipes. This composition showcases Stephens' sensitivity to the soul of folk music while remaining efficient in form. Springhead Echoes and the Clarinet Quintet, two works linked by memory and place, extend Stephens' nuanced approach to melody and rhythm. Commissioned in memory of Rosalind and Brian Richards, they explore themes rooted in friendship and place. Springhead Echoes for string quartet channels Brahms with themes that emerge in delicate counterpoint, invoking the charm of Rosalind's lifelong connection to her home in Dorset. Meanwhile, the Clarinet Quintet subtly references Beethoven's opera Fidelio, blending nostalgic elements with Stephens' penchant for inventive structure. In North Country for string quartet, Stephens deftly reinterprets the folk tune The Oak and the Ash, transforming it across three movements: Lilting, Heartfelt, and With Abandon. The tune surfaces and recedes, guiding listeners through a series of evolving textures. From the reflective openness of the first movement to the vibrant, Latin-inspired rhythms of the finale, Stephens showcases his ability to shift seamlessly between tradition and innovation. Finally, the Oboe Quintet offers a poignant tribute to two amateur musicians of the Liverpool music scene. Here, Stephens emphasizes the oboe's natural expressiveness through long phrases and joyful rhythmic interjections, balancing lyrical intimacy with structured dance-like sequences. The Passacaglia, inspired by Bach, builds through symmetrical chords and shifting time signatures, adding depth to the piece's intricate framework. These chamber works not only illustrate Ian Stephens' gift for melody and recontextualization but also his acute attention to instrumental character. Each piece encourages reflection, embodying both the intellect and spontaneity that mark Stephens as a contemporary voice with a profound respect for musical lineage. Ian Stephens, composer: Raised in Devon as a cellist and singer, Stephens studied at the University of Bristol and later worked with the Royal Liverpool Philharmonic Orchestra. He now teaches at Chetham's School of Music in Manchester. His works, including Ella's Big Chance: A Jazz Age Cinderella and Pinocchio, demonstrate his skill in elevating melody with strong rhythmic profiles and theatrical clarity. His Celtic Elegy showcases his ability to blend soul and efficiency, earning him work as an arranger for artists like Cate Le Bon and Ian Broudie.

Arnold: The Return of Odysseus

Mozart wrote one complete sonata for two pianos, the famous D major, here in a superb performance. But he also left sketches of a second work in B flat, which has been completed and realized by Anthony Goldstone. Together with Goldstone's transcription of the Adagio and Rondo, originally written for glass harmonica, and arrangements by Busoni and Grieg, this is perhaps one of the most fascinating and unusual programs of Mozart available.

Frederick Paul Naftel's new album showcases his eclectic compositional style through a diverse collection of works. 3 Premiere Recordings: Aphoristic Impressions, composed in 2023 for American pianist Haley Myles, captures the essence of various landscapes through five short piano pieces. These pieces evoke images of the underwater church at Dunwich, Suffolk, the eruption of an Icelandic geyser, the indigenous wildlife of the Australian outback and Uluru/Ayers Rock, a peaceful night-time portrait of a Japanese garden, and Whirlpool Rapids Gorge on the Niagara River. Naftel's String Quartet No.2, composed during the initial Coronavirus pandemic, reflects the era's tumultuous nature. Unlike his first quartet, this single-movement piece is divided into five sections with an epilogue. The music oscillates between tranquil static passages and furious, violent sections, marked by intervals of a major 7th and minor 2nd. The Lento opening flows serenely but mysteriously, evolving through a relentless Allegro feroce, transitioning to an Adagio Sostenuto reminiscent of plainsong, and culminating in a powerful and enigmatic epilogue featuring recorded cello pizzicato. The Folksong Suite for String Orchestra and Timpani draws on six English and Scottish folksongs, including John Peel, Early One Morning, Ca' the Yowes, Loch Lomond, Dashing Away With The Smoothing Iron, and Lincolnshire Poacher. Legacy Recordings: Pascal's Victim for Tuba Quartet, composed for the North West-based Tubalate, features three movements based on the Gregorian Chant Victamae Paschali. Each movement uniquely fragments the theme, particularly in the slow second movement, where a short melodic motive is varied by gently shifting harmonies. Song of Songs: Rhapsody for String Orchestra and Harp is an ethnic-flavoured rhapsody based on Hebraic chants and original material, featuring melodies like "Yigdal" and "Hatikvah." This piece evokes imagery suited for films set in Biblical times or perhaps documentaries about the Middle East. Villancico for Guitar and Small Orchestra bridges the music of the Spanish Renaissance and Joaquin Rodrigo in a charming and lyrical Rondo form, while Aubade Pastorale for String Orchestra is a short tone poem depicting a hazy day in the English countryside, using original themes inspired by the English Pastoral School, particularly Ralph Vaughan Williams. Frederick Paul Naftel, born in Manchester in 1956, is an eclectic composer drawing inspiration from diverse sources such as landscapes, nature, and historical events. His compositions span various styles and formats, creating distinct moods and atmospheres. His repertoire includes Concerti for Orchestra, Symphonies, chamber music, and vocal works. Notable works include the Double Concerto for Bass Tuba and Contrabass Tuba, the Bass Clarinet Concerto, Aubade Pastorale, and the Sanctus for female voices, strings, and piano. He received an award from the Paul Hamlyn Foundation in 2020 and was runner-up in the King Lear Arts Competition. Naftel is currently working on his Third Symphony, dedicated to Sir James MacMillan, and future orchestral works. Naftel's music has been praised for it's eccentricity, individuality and distinctive voice in contemporary music.

Reveries is the highly anticipated new album from acclaimed composer Jonathan ostlund. Renowned for his evocative and cinematic compositions, ostlund weaves together classical elegance with contemporary innovation. Reveries showcases ostlund's ability to craft immersive soundscapes and ignite the imagination. Each track on the album is a masterful blend of intricate orchestration and emotive melodies, reflecting ostlund's deep understanding of both the power and subtlety of music. From the sweeping, majestic passages to the intimate, delicate moments, the album captures a spectrum of emotions. Collaborating with world-class musicians, ostlund has created an album that is not just heard, but felt. "It was a moving moment for me to record Jonathan ostlund's poetic, highly musical, and flutistic work" - Myriam Hidber-Dickinson, flute "Jonathan ostlund's music has this rare emotional freshness, which I really appreciate in music. His style gives us, performers, a lot of ways for searching colors, timbres, images, all that we call 'interpretation'." - Evgheny Brakhman, piano Jonathan ostlund, a Swedish composer with a BA and MA in Composition from LTU, has completed nearly 200 works, including orchestral pieces and violin concertos. His music, performed by renowned musicians like Einar Steen-Nokleberg and Yuri Revich, is released under Divine Art Records, with acclaimed albums such as "Lunaris," "Voyages," "Mistral," "Imago," and 2023's "Elysian". ostlund's achievements include premieres and CD releases with the London Schubert Players, awards like the Public Choice Award for his Cello Sonata and the Leicester Symphony Orchestra's 1st Prize for "Celebration Fanfare." His works have been performed across Europe, the UK, and the USA.

Divine Art presents two stunning organ symphonies by renowned composer James Cook, performed by the eminent British organist, Kevin Bowyer. Making his debut on the Divine Art label, Bowyer brings to life Cook's Symphony No. 8 ("Olympian") and Symphony No. 9 ("Apollonian"), both crafted in 2006 and masterfully orchestrated in 2011. This remarkable recording took place on the majestic organ of Glasgow University Memorial Chapel in 2023. James Cook, a prolific composer born in 1963, studied composition at Oxford University and has since created a vast array of music, including operatic extracts, sacred choral works, and an impressive collection of organ compositions. This new release marks the ninth album of Cook's music by Divine Art, showcasing his continuous evolution as a composer. The Olympian Symphony, Cook's eighth symphony, is an expansive and evocative piece inspired by Mount Olympus, the mythical home of the Greek gods. It consists of four movements: Soliloquy, a meditative and introspective movement that builds to a powerful climax before gently fading away; Anglais, an energetic and angular dance in 2/2 time, contrasting leaping intervals with scalic melodies; Pastorale, a serene nocturnal scene, mostly quiet with a dynamic central section, concluding with a whispering ppp; and Expansum, grand and noble, featuring majestic chords and sweeping passages that suggest an endless journey. Prefacing the symphony, Cook includes a quote from John Trapp: "Should we not be as serious and sedulous in building staircases for heaven as the wicked are in digging descents to hell." The Apollonian Symphony, Cook's ninth symphony, depicts the vibrant and varied experiences of a long summer's day by the seaside in Victorian or Edwardian times. It comprises seven movements: Introduzione, where dawn breaks on a summer morning; Allegro, capturing the excitement of starting the day's adventures; Allegretto, reflecting a mellow, reflective mood at noon; Alla Marcia, as a military band parades by in the afternoon; Presto, with a playful street urchin mocking the band as it passes; Prestissimo, where the day grows more intense as the late afternoon heat gives way to early evening revelries; and Adagissimo, concluding the day as the visitor retreats to the tranquility of a forest, ending the night in peaceful reflection. The finale is titled with Cook's own words: "Fractious day yields to sublime night." Kevin Bowyer, celebrated for his unparalleled skill and daring performances, has captivated audiences worldwide. Born in Southend-on-Sea, Bowyer trained at the Royal Academy of Music and further honed his craft under the guidance of David Sanger. His illustrious career includes numerous accolades, such as the prestigious Medal of the Royal College of Organists and the "Lifetime Award" from the German Record Critics in 2023.

Tuneful, exotic, brilliant - the vocal music of Heitor Villa-Lobos encaptures the spirit of Brazil. This recital was recorded in 1972/3 and issued on 3 LP's, one of which, including the Bachiana Brasileira, won the Grand Prix du Disque in 1973, and was also highly praised by the composer's widow.

N their fifth CD for Divine Art, Britain's leading piano duo explore the east from Israel to Siberia, from Persia to Bali. The influences are diverse. McPhee spent much time in Bali, while John Mayer was in effect one of the founders of the "world music" genre. Anthony Goldstone has newly arranged Achron's "Hebrew Melody" for piano duo and prepared a performing edition of Holst's wonderful "Beni Mora" suite from the transcription made by Holst's pupil Nora Day. Most of these splendid pieces are recorded here for the first time.

This is a very important release for lovers of 20th century music, featuring one of the most fascinating and important piano works of the 20th century. Passacaglia is, first, one of the longest continuous solo keyboard pieces ever written. It has collected almost a cult following. It is also a piece of wide variety, collecting in influences from the music of many places, but based strongly and closely throughout on the initials DSCH (for Dmitri Schostakovich). We are pleased to dedicate this disc to the composer in celebration of his recent 75th birthday. Pianist Murray McLachlan is one of Britain's leading exponents of modern music. He has recorded 2 previous CDs for Divine Art and also for Dunelm and Olympia.

Schubert did of course write a great deal of music for two pianists to play together, and Goldstone & Clemmow, Britain's top duo, have recorded all of it (on 7 CDs for Olympia Records - no longer available). Almost unknown and certainly neglected are the brilliant transcriptions made by other composers of some of Schubert's masterpieces. These have been unearthed from various places and recorded for the first time. This is a groundbreaking performance which will be required by all lovers of Schubert and of piano music alike. (ALL WORLD PREMIERE RECORDINGS except Polonaise)

There seems no end to the brilliance not only of the musicianship and pianistic skill of our top piano duo but also their dedication to re-discovering and recording lost or neglected masterpieces. Here we have the very well known Second Piano Concerto of Chopin, in a two-piano version by Chopin himself and his pupil Mikuli - and never before recorded. A host of other rarities and transcriptions complete yet another reference recording.

Schubert, F.: The Piano Masterworks, Vol. 3

Acknowledged without reservation as the greatest composer working in England in the 18th century, Georg Frideric Handel is revered worldwide as a master composer. His Harpsichord Suites are among the finest instrumental works of the period, and eight of those are presented here by Gilbert Rowland, one of Europe's foremost harpsichordists.

The importance of this set cannot be overstated. First released on seven separate albums by Olympia, it launched the international reputation of Anthony Goldstone and Caroline Clemmow as one of the world’s foremost duos, and it remains the only complete recording of Schubert’s original duet compositions including many little-known masterpieces and one Polonaise completed by Goldstone from Schubert’s unfinished manuscript. Each album concludes with a Polonaise encore written by Schumann, inspired by Schubert. The set represents the whole stretch of Schubert’s output from D. 1 to D. 968. The performances are superb, exhilarating and perfectly integrated: the husband and wife team really do play like one person with four hands. Tragically, Anthony Goldstone died on January 2, 2017 while the design work of this set was being finalized, and did not live to see the reissue of this marvelous collection, repackaged and remastered as a complete set.

Robin Stevens' A Questing Soul, his fifth album with Divine Art, offers a compelling portrait of a composer whose work has evolved over nearly three decades. This collection spans a broad stylistic spectrum, charting Stevens' progression from the lush Late Romanticism of his early works to the more dissonant and experimental idioms of his later compositions. Throughout, Stevens balances technical innovation with an underlying sense of lyricism, humour, and tonal clarity, making this album a rich listening experience for those who appreciate the depth and variety of contemporary chamber music. The two most substantial works on the album-Fantasy Sonata and Sonata Tempesta-were composed during Stevens' late twenties and represent key milestones in his early output. The Fantasy Sonata, written for violinist Christine Townsend and pianist Stephen Robbings, presents an intensely focused sound world built around the octatonic scale. It's single-movement structure moves from a soulful, lamenting introduction to more turbulent, faster sections, culminating in a joyfully intense peroration. Sonata Tempesta, in contrast, is a large-scale, four-movement work whose expansive form allows Stevens to weave together moments of lyrical beauty and stormy intensity. Both pieces showcase Stevens' ability to combine complexity and accessibility, creating compositions that are intellectually stimulating yet emotionally resonant. The album also includes a number of shorter works, or "miniatures," which offer Stevens the opportunity to explore new compositional ideas on a smaller scale. Pieces like Stratospheric! For solo violin and Toccata for solo piano demonstrate his flair for virtuosity and dynamic contrasts, while others, such as Cri de Coeur, evoke more contemplative, intimate soundscapes. These miniatures are fascinating in their own right, offering a glimpse into the composer's more experimental tendencies. One of the album's more unusual works, Scherzo in Blue, brings jazz influences into Stevens' instrumental music-a rarity in his oeuvre. The piece is infused with "blue notes" and jazzy piano chords, creating a playful yet sophisticated contrast to the more classical structures found elsewhere on the album. The title track, A Questing Soul, reflects the essence of the album: a compact tone poem for solo piano that alternates between dreamy lyricism and muscular, assertive themes. The piece encapsulates Stevens' ability to juxtapose contrasting musical ideas, leaving listeners with as many questions as answers-an approach that defines much of his work. With it's blend of large-scale sonatas, experimental miniatures, and the intriguing title track, A Questing Soul offers a comprehensive view of Robin Stevens' compositional range. This album will appeal to those with an interest in the intersections of modernism, Romanticism, and contemporary chamber music.