In March 2026, M�tier presents a stunning album of choral music from Northumberland-based composer John Casken, inspired by the region's magnificent landscape and coastline, it's changing colours, history, and poetry. The recording features Joyful Company of Singers under the direction of Peter Broadbent and reflects two years of working alongside the composer. The album features evocative and powerful settings of poems by writers from 7th-century Northumbrian cowherder Caedmon to George Herbert, John Donne, Robert Burns, Gerard Manley Hopkins, Sylvia Townsend Warner, Northumbrian poet Katrina Porteous, and John Casken himself. The album contains many Northumbrian connections, especially in the works written for choirs in Durham and Northumberland, including the Choir of Durham Cathedral and Newcastle Cathedral, Northern Sinfonia Chorus, and the choir John Casken himself started - Coquetdale Chamber Choir. The works are grouped around timeless and deeply resonant themes, the headings drawn from within their texts: Northumberland's seascape and dialect are central to Uncertain Sea, the single work in 'Far from Land'. The focus of 'Sacred Shaper' is Christianity in early times, followed by an Easter sequence Stone and Thorn, and finally music of farewell, Fare thee weel. Stones also play a part, whether rolling on the seabed, in memorials of stone, "the stone rolled away from Christ's tomb," or as an allegory for virtues symbolised in the stone floor of a church. The choir takes up various roles - sometimes as the voice of a community, or as voices coming together to offer reflection, or simply to tell a story through the music. John Casken's painting for the cover of this recording includes the stones of Dunstanburgh Castle bordering the seas; in Katrina Porteous's words, "Black Dunstanburgh withstands / The waves, the years."

Divine Art is delighted to present the February 2026 release of The Girl from the French Fort, an enchanting narrated orchestral work by Beijing-based composer and conductor Nicholas Michael Smith based on a children's story by acclaimed Chinese author Hong Ying. Gerry Cornelius conducts the New Music Players, with English narration by Timothy Bentinck, best known for voicing the role of David in BBC Radio 4's The Archers. It will be coupled on the album with a version of the recording narrated in Mandarin by Niki Yan, who has starred in many Chinese and international films and TV dramas. Hong Ying was intrigued by the old barracks she encountered on the banks of the Yangtze River when she was a child and turned it into a story for her own daughter, which has now been published with delightful illustrations by Cherry Denman. Set in 1970s Chongqing, The Girl from the French Fort tells the magical tale of a curious boy, Sangsang, who forms an unlikely friendship with a mysterious girl living inside the old French fort high above the Yangtze River. She draws him through ancient doors into a hidden, dreamlike world where time flows differently and everyday realities are charged with wonder and strangeness. What unfolds is a story of childhood, love, loss, and the gentle resourcefulness that helps us endure it all, enjoyable for children and grown-ups alike. Structured in the tradition of Prokofiev's Peter and the Wolf (a work with which it is often programmed), the piece blends narration with orchestral colour to vivid effect-capturing the story and it's shifting emotional landscape. Nicholas Michael Smith has lived and worked in China for over thirty years, and in 2011 was awarded an OBE in recognition of his services to music and to UK-China relations. Among his achievements has been presenting the Chinese premiere of Handel's Messiah and setting up several choirs and orchestras. He has a distinctive and complex musical language: at times, his melodic lines float freely around a tonal centre, moving in the circularity of the pentatonic scale that is core to much traditional Chinese music; at other points, his music is propelled by the harmonic tensions and chromatic development of Western classical tradition. These elements are woven in dialogue-each seamlessly enriching the other. The Girl from the French Fort is a poignant example of storytelling through music-lyrical, playful, and quietly resonant-a work that belongs to a creative life dedicated to building bridges between cultures. It has been enthusiastically received in China and already performed many times - it was described by Gramophone Magazine after it's UK premiere as "genuinely moving". Gerry Cornelius was born of Irish & Sri Lankan parentage. While his roots are firmly in opera, he has been active in all the main musical and theatrical genres throughout his career. He has had longstanding associations with a broad spectrum of ensembles, arts companies, and education institutions in the UK and abroad, both as a conductor and performer, and has been involved in many world premiere productions. He was Head of Music and Associate Conductor of the National Youth Orchestra of Great Britain and is currently Music Director of English Touring Opera.

Divine Art is delighted to present the February 2026 release of two piano quintets from composer Jim Aitchison, both drawing on his unique dual practice as composer and artist, creating music that responds to encounters with powerful works of art by leading visual artists. The collaboration between music, art, and artistry came together as part of a project with the Tremenheere Sculpture Gardens, "Hearing Shadows Wordless Light". Both Piano Quintets also grew out of his close collaboration with Peter Sheppard Sk�rved, Roderick Chadwick, and the Kreutzer Quartet, whose fiercely intelligent commitment and unique experience of working in visual art contexts have underpinned so much of Aitchison's work over the past two decades. Aitchison has always been fascinated with chamber music for piano and strings, inspired by the interplay of texture and timbre, and the huge expressive range of the great masterpieces. His own piano quintets are astonishing and unexpected, recreating yet "busting down the walls" of the Germanic canon. Neither of the quintets attempts to convey, "explain", or illustrate the artworks. "Rather, there is an exploration of territory provoked and revealed in me: I am not responding directly to the artworks themselves but rather to the range of my own reactions emerging from experiencing them." Jim Aitchison studied composition at Nottingham University in the early 1990s. Then in 2000 a move to Cornwall brought a life-changing encounter with the artists of the St Ives School, and a decades-long interest in exploring correspondences between music and art was born. As a composer, he has worked in response to a range of internationally important visual artists including Gerhard Richter, Antony Gormley, Doris Salcedo, Anthony Caro, Peter Randall-Page, Mark Rothko, Richard Serra, Anish Kapoor, Richard Deacon, Terry Frost, Bridget Riley, and John Hoyland, with various galleries such as Tate Modern, Tate St Ives, the RA, and the Henry Moore Institute. This release marks the combined 50th album from Peter Sheppard Sk�rved and the Kreutzer Quartet on the Divine Art, M�tier, and Athene labels.

Ahead of the 80th birthday of one of Britain's most singular compositional voices, this double album presents the complete organ works of Michael Finnissy a body of music as rich in intellectual depth as it is in imagination. Performed with careful nuance by acclaimed American organist Forrest Eimold, these works span over six decades and chart the evolution of a composer constantly challenging himself to think beyond presumed forms. At the heart of the collection are Finnissy's four Organ Symphonies: bold, searching works that pay homage to and wrestle with the legacies of Beethoven, Brahms, Bruckner and Mahler, while also evoking the French organ tradition of Vierne and Widor. "Why even write a Symphony?" Finnissy asks in a personal note for this release. "To explore and learn. To challenge oneself with the abiding presence of awe-inspiring history... to locate a rhetoric which fearlessly approaches the 'higher world of knowledge.'" From the youthful drama of�... ere the set of sun... �(written as incidental music for�MacBeth�in 1965) to the industrial solemnity of�Blackburn�(2022), the album presents not just a body of work but a kind of inner autobiography. The�Hymn-Tune Preludes - transformations of Sacred Harp and Norwegian folk melodies - offer a striking contrast: intimate, harmonically volatile, and unhitched from convention. Even the earliest works here, like the student piece�Xunthaeresis, reveal the seeds of a language already driven by risk and complex expression. Forrest Eimold, a formidable interpreter of 20th and 21st century keyboard music, brings dazzling technique and interpretive depth to this music. His command of registration, colour, and pacing allows each piece - from the vast landscapes of the symphonies to the epigrammatic preludes - to speak with clarity and conviction. Recorded on a range of instruments, including the organ of the UK's Blackburn Cathedral, this is a release release which anchors Finnissy's contribution to the organ repertoire as one of bold imagination and philosophical depth. It also continues Metier's retrospective celebrations for Finnissy's 80th year, with further releases to follow.

M�tier presents a landmark 4-disc box set from pianist Ian Pace in commanding performances of music by composer Michael Finnissy (b. 1946). Finnissy is widely regarded as one of Britain's most important living composers. Pace, one of the leading interpreters of Finnissy's work, presents an album focused around Finnissy's epic cycle for piano, The Verdi Transcriptions, alongside the second complete recording (after the composer's own) of the iconic English Country-Tunes, and works inspired by music of the late-18th and 19th centuries. The result is a broad view of Finnissy's extensive output of piano music in relation to Romantic aesthetics. The album is released in anticipation of the M�tier label's upcoming celebrations of Michael Finnissy's 80th birthday in 2026. Finnissy's four-book cycle of Verdi Transcriptions reimagines Verdi's operas through a modern lens. As Finnissy states in his liner notes: "Transcribing sound into a written form (notation) involves making significant choices. The choices can color the ongoing exploration of that sound as 'composition.'" The result of those choices is a monumental, late-Romantic epic. Finnissy's English Country-Tunes has long been considered one of his signature and most technically demanding cycles. There is a similar line of composition through transcription as The Verdi Transcriptions, only in these works the source material is English folk music. Written in celebration of Queen Elizabeth II's Silver Jubilee, the work can also be seen as a commentary on the spirit of British patriotism at the time. Ian Pace's readings reflect decades of study: he first performed English Country-Tunes in the 1990s and has played Finnissy's complete piano oeuvre in cycles (1996 and 2016). The set includes extensive liner notes by both Pace and Finnissy, offering rare insight into the compositional ideas and performance choices behind these demanding works. In Pace's recording of Michael Finnissy's other epic piano cycle, The History of Photography in Sound (MSV 77501), BBC Music raved: "Pace's intimate acquaintance with the totality of History is apparent in his commanding performance... this is a magnificent achievement for both composer and performer," and Gramophone hailed Pace as "Finnissy's David Bailey, each note shaded to perfection, structures translucently and sharply lit, defining sonic images of our time." Incomparable virtuoso, called the Paganini of the harp, F�lix Godefroid was also a composer and teacher. This recording, performed by Sophie Hallynck, highlights the composer's studies in high virtuosity. Designed for his own use and that of professionals, they partake of both "absolute music" - as with the deservedly famous �tude in B-Flat Minor, Op. 193 - and the character piece, picturesque or sentimental. These musical miniatures are pieces overflowing with musicality in a refined style, but they express a pedagogical program first and foremost. Godefroid conceived of his �tudes as a true school for harpists. Each technical problem becomes the medium for a musical expression - an approach that gives these �tudes exceptional richness and relevance. Often based on one of those melodies for which Godefroid had such a knack, each one is set apart by a strongly marked expressive character, ranging from laughter to tears, as well as by it's structure, rhythm, novel sonorities, and harmonic surprises not lacking in audacity. Sophie Hallynck has risen to the technical challenges specific to each �tude while staying faithful to the spirit of the era, with the aspiration to achieve a subtle balance between virtuosity and expression. Her essential objective has always been to make technique live through music, without ever obscuring that emotion that emanates from it. Shostakovich composed music for film throughout his life, from his teenage years as a pianist accompanying silent films in Leningrad until the early 1970s. New Babylon provoked a political and artistic storm upon it's release in 1929 but remains one of Shostakovich's finest film scores, performed here complete and uncut. Popular favorites The Gadfly and Hamlet are heard in premiere recordings of the complete scores. Also included is the music for Alone, The Girlfriends, Love and Hate, and The Fall of Berlin in premiere recordings that have garnered international critical acclaim. "This composer of the New Complexity movement admires avant-jazz. He also digs 19th-century classics. So, when adapting Verdi, he does it via the spirit of Cecil Taylor. Near the midpoint of Finnissy's "La Traviata" potpourri, you'll find dense fireworks as well as tenderness deriving from a motif Verdi once assigned to Violetta." - Seth Colter Walls, NYT

Edward Cowie is one of the most notable voices in contemporary music and considered by many to be the "leading contemporary composer of music that is related to the natural world" (Fanfare). A remarkable polymath, Cowie is renowned as a composer, visual artist, and natural scientist. Because They Have Songs is the fourth in Cowie's epic series of duo-works featuring cycles of stunning 'sonic portraits' of birds he has encountered on his travels across the world, exploring the relationships between the bird singers, and where and how they sing. It follows three highly acclaimed releases featuring birds of the UK (Bird Portraits MSV 28619), Australia (Where Song Was Born MSV 28620) and the US (Where the Wood Thrush Forever Sings MEX 77104), each highlighting 24 distinct bird species. This latest release, the fifteenth to feature his music on the Metier label, is devoted to 24 avian wonders of Africa. The title of the album is taken from a traditional African text which says, "Why do birds sing? Because they have songs". Edward Cowie went on safari to remote parts of Botswana, across dense bush and open plains where giraffe, wildebeest, zebra and antelope roam, through vast wetlands, majestic rivers and lakes, and shrub-dotted deserts. On his journey he sketched what he saw (included in the album booklet) and transcribed the natural sounds of insects, the noises of animals in movement, and the magnificent and powerful voices of African birds in all their moods and colours. The result is a vibrant and awe-inspiring interweaving of not only the sounds of singing creatures but also the rich environment in which they sing. The album has revelatory performances from Gerard McChrystal, justly hailed as a "magician" on saxophone, partnered with Richard Shaw's superb craftsmanship on piano, a comprehensive coupling of technique and imagination. Cowie's earlier albums in the bird song sonic portrait series received resounding praise worldwide and are poised to become iconic chamber masterpieces on the global stage: "You may well be thinking 'but Messiaen has already done it'. But Cowie's approach is gentler, almost more loving." -MusicWeb "imaginative, captivating and really very moving" -The Strad "Cowie is an endlessly inventive composer and this is a treat" -BBC Music Magazine

Two decades after their pioneering 2004 album�New French Song, soprano Alison Smart Fisher and pianist Katharine Durran return with a bold and timely sequel.�New French Song II�presents ten newly commissioned settings of French texts by women and non-binary composers, expanding the art song repertoire with fresh perspectives and luminous creativity. The original�New French Song�brought together 20 British composers, each setting a French poem-predominantly Romantic and written by men. This second collection rebalances the picture, offering a rich, contemporary counterpoint. The texts, all by women and non-binary poets, span eight centuries of Francophone literature, from Europe to the Caribbean, and reflect a wide-ranging poetic tradition-from the sensual cadences of Symbolism to the fractured textures of post-Modernism. The themes are universal: love's first stirrings, it's losses and partings, the solace of solitude, and the healing power of nature. Chosen with care to resonate with younger readers as well as seasoned listeners, these texts speak with clarity and nuance, free from gendered conventions, yet charged with emotional depth. The composers-among them Deirdre Gribbin, Shirley J. Thompson, Lesley-Jane Rogers, and Grainne Mulvey-respond with a dazzling range of musical idioms. From lyrical stillness to rhythmic intensity, their settings are at once rooted in the tradition of French melodie and alert to the sonic world of today. The resulting collection is kaleidoscopic in colour and tone, yet unified by a shared commitment to text, voice, and the art of expressive song. Two bonus tracks complete the programme: a new song each by Nicola LeFanu and Daryl Runswick, both closely associated with the performers and longstanding champions of new music. Together,�New French Song I & II�form a landmark achievement-an ambitious, beautifully realised cycle that now offers a more inclusive and representative vision of what the modern songbook can be. This album is a compelling testament to artistic curiosity, collaboration, and the enduring vitality of song. For listeners drawn to the intersection of poetry and new music, or for those seeking fresh voices in the classical landscape,�New French Song II�is a significant and rewarding release.

This arresting new album presents a major addition to the solo flute repertoire, bringing together the visionary artistry of flautist�Noemi Gyori�and the intricate, evocative music of composer�Sinan Savaskan. Spanning nearly five decades of Savaskan's compositional output, the album explores the full expressive range of the flute it's lyric warmth, it's structural clarity, and it's capacity for sonic transformation-often in dialogue with subtly woven electronic elements. At the heart of the album lies�Sonata '... una rilettura indipendente', a five-movement tour de force that is both architectural and deeply intuitive. Conceived as part of the composer's epic cycle�Many Stares through Semi-Nocturnal Zeiss-Blink, this work embodies Savaskan's radical approach to form and harmony an evolving narrative shaped by transformation, resonance, and reflection. Written specifically for Noemi Gyori, the Sonata draws upon her exceptional virtuosity and interpretative insight, and represents a rare synthesis of structural rigour and emotional intensity. Alongside the Sonata are three additional works, each revealing a distinct facet of Savaskan's sound-world.�The Sleep of Reason, for solo flute, offers a tightly coiled musical meditation, born from a nocturnal journey and haunted by socio-political undercurrents and subconscious recollections.�Always at Dusk, No.3, for alto flute and electronics, distills a fleeting emotional memory into an atmosphere of suspended time, echoing the concept of�duree�rather than chronological sequence. Finally,�Pas de Deux for One, originally composed in 1978 and revised in 2023, draws from Savaskan's background in dance and experimental film, resulting in a vivid theatricality that unfolds through extended techniques and shifting gestures. The electronics, composed entirely from transformations of flute sounds, serve not as backdrop but as an active, organic extension of the instrument's breath, resonance, and timbral possibilities. Whether experienced through speakers or headphones, the recording invites deep listening preferably in dim light, as Gyori suggests offering an immersive sonic space where listener, performer, and composer meet. An album for connoisseurs of contemporary music,�Sonata '... una rilettura indipendente'�is a profound collaboration between two artists whose shared sensitivity reshapes what solo flute music can mean today.

This arresting new album presents a major addition to the solo flute repertoire, bringing together the visionary artistry of flautist�Noemi Gyori�and the intricate, evocative music of composer�Sinan Savaskan. Spanning nearly five decades of Savaskan's compositional output, the album explores the full expressive range of the flute it's lyric warmth, it's structural clarity, and it's capacity for sonic transformation-often in dialogue with subtly woven electronic elements. At the heart of the album lies�Sonata '... una rilettura indipendente', a five-movement tour de force that is both architectural and deeply intuitive. Conceived as part of the composer's epic cycle�Many Stares through Semi-Nocturnal Zeiss-Blink, this work embodies Savaskan's radical approach to form and harmony an evolving narrative shaped by transformation, resonance, and reflection. Written specifically for Noemi Gyori, the Sonata draws upon her exceptional virtuosity and interpretative insight, and represents a rare synthesis of structural rigour and emotional intensity. Alongside the Sonata are two additional works, each revealing a distinct facet of Savaskan's sound-world.�The Sleep of Reason, for solo flute, offers a tightly coiled musical meditation, born from a nocturnal journey and haunted by socio-political undercurrents and subconscious recollections.�Always at Dusk, No.3, for alto flute and electronics, distills a fleeting emotional memory into an atmosphere of suspended time, echoing the concept of�duree�rather than chronological sequence. The electronics, composed entirely from transformations of flute sounds, serve not as backdrop but as an active, organic extension of the instrument's breath, resonance, and timbral possibilities. Whether experienced through speakers or headphones, the recording invites deep listening preferably in dim light, as Gyori suggests offering an immersive sonic space where listener, performer, and composer meet. An album for connoisseurs of contemporary music,�Sonata '... una rilettura indipendente'�is a profound collaboration between two artists whose shared sensitivity reshapes what solo flute music can mean today.

Rodney Lister's Choral Works: A Journey Through Text, Harmony, and Expression Rodney Lister's choral compositions represent a remarkable synthesis of literary sensitivity, harmonic sophistication, and an abiding commitment to vocal expressivity. This recording offers a collection of Lister's works composed over several decades for the chorus of Greenwood Music Camp, a summer program with which he has been deeply involved as a composer, pianist, and mentor. The repertoire featured here provides a rare and illuminating perspective on the evolution of his choral writing, spanning from early diatonic and modal explorations to later works of greater harmonic intricacy. Lister's deep engagement with text is evident throughout this collection. Drawing upon poets such as Wallace Stevens, Gertrude Stein, and others, his settings bring out the rhythm, colour, and nuance of the language in ways that feel both natural and revelatory. Early works embrace clarity and directness, allowing the shape and syntax of the poetry to guide musical decisions, while later pieces exhibit a denser harmonic language that reflects his affinity for figures like Virgil Thomson and even the chromatic daring of composers such as Gesualdo. Throughout, his choral textures remain vibrant and varied, capable of both luminous transparency and rich complexity. A defining characteristic of Lister's music is his ability to balance tradition and innovation. He employs familiar harmonic structures yet subtly subverts expectations, allowing triadic formations to shift and realign in ways that create an ever-changing sense of musical space. The result is music that feels both grounded and pleasingly unpredictable, continually engaging the listener in an unfolding dialogue between stability and transformation. His approach to choral writing is informed by his experience as both a composer and pianist, ensuring that every line is singable, every phrase thoughtfully shaped, and every harmonic progression imbued with a keen sense of dramatic pacing. This recording not only highlights Lister's distinctive compositional voice but also captures his deep personal investment in the choral medium. His long-standing association with Greenwood Music Camp and other ensembles has allowed him to refine his craft in a setting that fosters both artistic rigor and communal engagement. The performances here reflect that intimate understanding between composer and ensemble, bringing his works to life with clarity, warmth, and expressive depth. For those interested in contemporary choral music that bridges past and present, intellect and emotion, structure and spontaneity, Lister's choral works offer a rewarding experience.

Naji Hakim: A New Voice for the Cello Gwendeline Lumaret explores the fusion of Eastern and Western traditions in Hakim's striking solo and chamber works. This album presents a striking collection of solo and chamber works for cello by�Naji Hakim, performed by�Gwendeline Lumaret�with clarity, virtuosity, and deep expressive insight. Known for his distinctive synthesis of Western classical traditions and Middle Eastern influences, Hakim's writing is both intricate and immediate, drawing on sources as diverse as Gregorian chant, Levantine folk music, and the harmonic innovations of French modernism. The album opens with�Arabesque et Variations, a vivid solo work inspired by the Egyptian song�Ya Chadi el Alhhan�by Sayyed Darwish. The piece moves through four contrasting variations, shifting from playful dance to contemplative lyricism before concluding with an intimate, improvisatory coda.�Missa Cum Jubilo, also for solo cello, takes it's themes from the Gregorian Mass IX. Each movement transforms the chant material into distinct sound worlds, from the expressive ornamentation of the�Kyrie�to the perpetual motion of the�Sanctus�and the luminous tranquillity of the�Agnus Dei. In�Prelude et Habanera, Hakim pays homage to both Bach and the Spanish-inflected harmonies of Ravel and Debussy. The�Prelude�unfolds with the clarity of a Baroque toccata, while the�Habanera�evokes a sultry, shifting landscape of rhythm and color.�Montmartre, written in 2023, is a deeply personal reflection on the history and spiritual resonance of the Parisian district where Hakim served as organist of the Basilique du Sacre-Coeur. The album concludes with�Levantine Variations�for cello and piano, a work rooted in the popular song�Bint El Shalabiya. The melody's modal inflections and asymmetrical rhythms are explored through five transformations, ranging from contrapuntal chorale to martial intensity and a dazzling final movement that merges symphonic variation with sonata form. With world premiere recordings of these works, this album is a significant contribution to the contemporary cello repertoire. Gwendeline Lumaret, a performer of remarkable versatility, brings out the rhythmic and expressive richness of Hakim's writing, illuminating the music's interplay of Eastern and Western traditions with precision and artistry.

Reflections in Time brings together three major works by Robert Saxton which push the expressive and structural boundaries of the string quartet and solo violin. Performed by the renowned Kreutzer Quartet and violinist Peter Sheppard Skaerved, this album beautifully illustrates Saxton's ability to fuse intellectual rigor with deeply evocative musical storytelling. String Quartet No. 3 (2009) unfolds in five intricately woven movements, charting a course through cyclical forms and shifting modal landscapes. A work of compelling contrast, it moves from the meditative austerity of Winter Light to the driving energy of Dance, before closing with Continuing Journey, a movement that dissolves into the very resonance of it's own beginning. The Sonata for Solo Violin, Reflections in Time (2023), written for and inspired by Skaerved's artwork, is a profound exploration of symmetry, memory, and transformation. Saxton constructs a sonic world where melodic gestures mirror and refract, capturing the essence of time's fluidity. With a structure reminiscent of the palindromic forms found in Bach and Berg, the work challenges perceptions of musical motion, forging an organic connection between sound and visual art. String Quartet No. 4 (2023) is a meditation on creation and renewal, mapping an ascent through seven movements, each tied to a symbolic pitch cycle. From the opening Wavebreak, evoking the birth of sound and motion, to the final movement, Daybreak, which resonates with echoes of all that preceded it, the quartet embodies a vast temporal and harmonic journey. It's centerpiece, "... The dancing will never be done... ," is an urgent and restless dance, framed by introspective movements that contemplate the passage of time and human experience. Saxton's music is defined by it's meticulous craftsmanship and philosophical depth. In Reflections in Time, his long-standing collaboration with the Kreutzer Quartet and Sheppard Skaerved reaches new heights, producing performances that are as precise as they are impassioned. This recording offers a vital addition to the contemporary string repertoire, appealing to listeners attuned to the intellectual and emotional possibilities of modern chamber music.

A Symphony of the Earth in Three Movements Discover the arresting new album of piano sonatas by Edward Cowie, one of today's foremost composers inspired by the natural world. Performed by the virtuosic Roderick Chadwick, this album marks the 14th release of Cowie's works on the Metier label, further solidifying his legacy as a composer whose music bridges art, science, and nature. This trilogy of sonatas-Igneous, Sedimentary, and Metamorphic-draws directly from the geological processes that shape our planet. Each work is both an independent exploration and part of a greater whole, mirroring the classical sonata cycle in an ambitious and deeply evocative form. �Sonata No. 1: Igneous unleashes fiery, volcanic energy, portraying the birth of rocks through explosive eruptions and flowing magma. It's sonic landscape is alive with tension, turbulence, and ultimately, moments of stillness in the aftermath of volcanic forces. �Sonata No. 2: Sedimentary explores the layering and transformation of rock through aeons of deposition, folding, and fracturing. Alternating between serenity and upheaval, the work reflects the dynamic balance of nature's processes. �Sonata No. 3: Metamorphic, the most expansive and virtuosic of the set, culminates the cycle. It's theme and variations evoke the transformative forces of heat and pressure, blending echoes of the previous sonatas into a profound and unified conclusion. Pianist Roderick Chadwick's interpretation captures the elemental power and intricate detail of Cowie's vision, bringing each sonata to life with extraordinary sensitivity and technical mastery. With influences ranging from Beethoven's late sonatas to the intricate patterns of the natural world, Cowie's music transcends genres, offering listeners a unique and transformative experience. This album is not just a collection of sonatas; it is an odyssey through the earth's geological heart, celebrating the interplay of form, motion, and metamorphosis. Rock Music is a testament to Cowie's genius and Chadwick's exceptional artistry. Essential listening for fans of contemporary classical music.

Leaps & Bounds: The Music of Lance Hulme presents a compelling survey of Dr. Lance Hulme's oeuvre, showcasing his intellectual rigor, inventive compositional techniques, and engagement with diverse cultural and historical contexts. The album features works that exemplify Hulme's mastery of structure and colour. Sirens' Song, a symphonic triptych inspired by Homer's Odyssey, integrates 19th- and early 20th-century orchestral techniques with modern thematic exploration. Wildcat, originally commissioned by the Rascher Saxophone Quartet, reflects a vivid sonic depiction of kinetic energy and joy, drawing on personal and cultural narratives. Hulme's JethroZen juxtaposes the rock-inspired flute idiom of Ian Anderson (Jethro Tull) with the meditative timbres of the Japanese Shakuhachi, bridging Eastern and Western musical traditions. Folk idioms and tonal frameworks are reimagined in Appalachian Advent, while Sax Attractor employs mathematical attractor sets as a metaphor for musical cohesion, yielding a meticulously structured saxophone sonata. Setting the Diamond offers an innovative engagement with medieval chant, integrating Hildegard von Bingen's hymnody with electronic and acoustic counterpoint to create a nuanced dialogue between past and present. Hulme's works balance intellectual depth with emotional immediacy. An Eternal Flame, dedicated to the people of Ukraine, demonstrates his ability to embed profound human narratives within intricate compositional frameworks. Slapdash Redux, with it's virtuosic interplay and rhythmic ingenuity, exemplifies his fascination with spontaneous energy and contrapuntal complexity. This album is an essential addition to the repertoire of contemporary classical music, inviting scholars, performers, and listeners to explore the intersections of tradition, innovation, and cultural dialogue in Hulme's work. Leaps & Bounds offers a vivid portrait of a composer who traverses disciplinary boundaries with intellectual acuity and artistic finesse.

Metier, the British new-music label known for it's dedication to contemporary composers, deepens it's ties with Ireland's vibrant musical landscape with a striking new release in early 2025. This album presents premiere recordings of Sean Doherty's captivating works for string quartet, enriched by voice and traditional Irish instruments. Hailed as "unfailingly gripping" (Irish Times) and "wonderfully imaginative, colourful" (Irish Examiner), Doherty's chamber music masterfully fuses Irish traditional and classical traditions, creating vivid and dramatic narratives. His compositions traverse poignant themes of death, mourning, and defining moments in Irish history, including the Great Famine, the Easter Rising, and the Troubles. This recording captures the essence of his music, which has captivated live audiences and now receives it's first studio treatment. The performers on this album represent the pinnacle of Irish traditional and classical music. The Sonoro Quartet, celebrated as European Concert Hall Organisation's 'Rising Stars' for the 2023-24 season, brings their virtuosic artistry to these works. They are joined by soprano Sylvia O'Brien, a leading interpreter of contemporary Irish music, and Mark Redmond, an internationally acclaimed uilleann piper. Additional contributions from traditional musicians Lauren O'Neill, Molly Tobin, Robert Harvey, and Doherty himself add further authenticity and depth to this exceptional recording. Produced by Richard Duckworth, a music technology lecturer at Trinity College Dublin, the album was recorded in Dublin in 2023, ensuring a pristine and evocative soundscape. Sean Doherty's talent has earned numerous accolades, including multiple Feis Ceoil choral composition prizes, the West Cork Chamber Music Festival Bursary, and awards from Choir & Organ Magazine. His music has been performed widely by prestigious orchestras, ensembles, and soloists, and his contributions to Metier's Ghost Songs album (MSV 28599) were praised as "little miracles" by Fanfare. This album stands as a vivid portrait of one of Ireland's most compelling contemporary voices, offering listeners an arresting journey through the intersection of history, tradition, and modernity.

Metier celebrates the music of Justin Connolly (1933-2020) with a landmark double album. Featuring world premiere recordings of his intricately crafted works, this release shines a long-overdue spotlight on a composer once named by Pierre Boulez among the most compelling British voices of his era. Connolly's music, characterized by conceptual rigor, lyrical intensity, and flashes of playful invention, has remained largely absent from the public stage in recent decades. A long compositional hiatus in the late 20th century may have contributed to this neglect, but his unique voice is now rediscovered through this comprehensive recording. Cellist and producer Neil Heyde reflects on Connolly's impact as an inspirational teacher at the Royal Academy of Music and as a curious, collaborative force within the musical community: "His intellectual engagement with music was unparalleled, and his enthusiasm for exploring the unconventional was as legendary as his generosity of spirit. This project seeks to capture the essence of his unique sensibility through these premiere recordings." Heyde leads the project alongside Kreutzer Quartet colleagues Peter Sheppard Skaerved and Mihailo Trandafilovski, with clarinettist Roger Heaton featured on Gymel-B. The album also includes collaborations with Royal Academy of Music students, providing a vibrant intergenerational exchange in Connolly's larger ensemble works. Four pieces receive world premiere performances, making this the most extensive exploration of Connolly's music to date. These works illuminate a fascinating spectrum, from virtuosic solos to ensemble compositions that are as deeply intricate as they are expressively bold. Recorded in spring 2024 in London by the renowned engineer Adaq Khan, and supported by a research grant from the Royal Academy of Music's Research Committee, this project captures the brilliance and nuance of Connolly's artistry with exceptional clarity. This album reintroduces Justin Connolly as a vital figure in British contemporary music, offering an arresting portrait of a composer whose intellectual rigor and lyrical depth remain as relevant today as ever.

This album presents pianist Marilyn Nonken's third exploration of spectral piano music for the Metier label, highlighting her interpretation of the piano works of Hugues Dufourt. Recorded in the distinctive acoustics of the Troy Savings Bank Music Hall in New York, the album's setting-a Beaux Arts building with a grand but worn character-perfectly complements Dufourt's music, which is richly rooted in resonance, architecture, and connections across artistic eras. The hall's unique acoustics blend clarity with warmth, creating an almost ethereal depth that enhances spectral music's unique qualities. Hugues Dufourt, a foundational figure of the French spectral school, draws inspiration from art, architecture, and philosophy, delving into sound as a physical and psychological experience. Rather than adhering strictly to the structural dictates of high modernism, Dufourt's spectral approach sculpts sound to create space for gesture, timbre, and nuance. This album brings Dufourt's techniques to life, capturing his philosophy that composing is akin to "sculpting a block of sound," as noted by his colleague Tristan Murail. In works like�An Schwager Kronos�and�Meeresstille, Dufourt conjures an evocative atmosphere through rhythmic precision and arresting sonorities.�An Schwager Kronos�echoes Goethe's depiction of time as an insistent coachman, with Nonken's dynamic control and deft pedaling driving a haunting, layered progression.�Meeresstille�captures the stillness of a calm sea with shimmering overtones, restless beneath the surface, nodding toward Goethe's "monstrous breadth." Dufourt's ensemble piece�l'Origine du monde�reflects his fascination with the piano's resonance alongside other instruments, broadening it's sonic palette with orchestral textures. Through spectral techniques, Dufourt's orchestrations amplify the piano's overtones, blending them with percussion and microtonal elements to achieve a "near-elastic" resonance. Nonken's profound grasp of spectralism, displayed on her earlier Metier albums, elevates her performances here. Her touch and phrasing reveal Dufourt's desire to transcend traditional confines of modern piano music. In�Rastlose Liebe, Nonken interprets Schubertian influences with modern intensity, while�Tombeau de Debussy�serves as a contemplative homage to Debussy's legacy. With this third album, Nonken offers an exciting addition to the spectral repertoire, inviting listeners to experience the piano as both instrument and resonant space, rich with historical echoes and artistic depth.

The Gentle Erasure of Time, the arresting and spellbinding debut solo album from Dublin-based American violist Nathan Sherman, is a collection of new commissions for solo viola and electronics. Sherman creates an immersive soundscape that shifts between haunting, mesmerising passages and intense, cinematic moments. Featuring works by distinguished composers Nicole Lizee, Karin Rehnqvist, Jonathan Nangle, Linda Buckley, Benjamin Broening, and Sam Perkin, this album explores themes of memory, movement, and beauty, establishing a vibrant conversation between acoustic and electronic realms. The album opens with Jonathan Nangle's Erasure of Time, in which Sherman's viola plays a central role within an intricate layering of effects and electronic synthesis, moving through sonic landscapes with a sense of almost perilous intensity. Each piece is a distinct sound world, blending the viola's organic resonance with imaginative electronic textures to create an atmosphere that feels both grounded and otherworldly. The delicate interplay of sound elevates the viola's voice in an entirely new setting, inviting listeners to engage with each carefully crafted moment. Linda Buckley's The Thin Veil provides a lyrical and meditative close to the album, capturing a final, ethereal reflection on the album's core ideas. This piece, rich with Buckley's characteristic beauty and introspection, rounds out The Gentle Erasure of Time as a powerful exploration of what electronic elements can bring to contemporary classical music. Sherman's technical skill animates each composition with precision and intensity, revealing his deep connection to this repertoire. Known for his versatile musical interests and collaborations, Sherman has performed across both classical and experimental genres, contributing to ensembles like the Ficino Ensemble, National Symphony Orchestra of Ireland, and the Irish Baroque Orchestra. This album builds on his innovative career, inviting listeners into a sonic experience that reimagines the potential of viola and electronic music together. The Gentle Erasure of Time is a remarkable achievement from an artist at the height of his creative powers. Audiences are encouraged to turn up the volume and experience the textured depths and spatial richness of a bold new vision for the viola.

Metier is proud to present The Tyndall Effect, a compelling collection of works by acclaimed composer Grainne Mulvey. Drawing inspiration from the remarkable legacy of John Tyndall-physicist, explorer, poet, and cultural icon-Mulvey's compositions bridge the gap between music and science, paying homage to Tyndall's groundbreaking contributions in climate science, molecular spectroscopy, and bacteriology. John Tyndall, a native of Leighlinbridge, Co. Carlow, Ireland, was celebrated for his fascinating lectures at the Royal Institution and his pioneering scientific work, which paved the way for modern nanoscience and quantum reality. Known as the "poet of science," Tyndall's vivid descriptions of natural phenomena have now been transformed into an evocative musical experience by Mulvey. The Tyndall Effect features six pieces, each reflecting aspects of Tyndall's extensive work and achievements. Diffractions for Orchestra (2014) opens the collection, inspired by Tyndall's lectures on sound and light. The piece evolves from a cacophony of "white noise" into distinct harmonic, rhythmic, and timbral elements, mirroring the process of diffraction. Interference Patterns (2014), a piano piece commissioned for the Dublin International Piano Competition, captures the essence of Tyndall's research into diffraction, unfolding as variations on a ground theme that shifts through different registers and harmonic spectra. LUCA (2017), created for the Hard Rain Soloist Ensemble, reflects on the Last Universal Common Ancestor, echoing Tyndall's support of Darwin's theory of evolution. The piece transitions from chaotic clusters to thematic gestures, symbolizing the interconnectedness of all life. Calorescence (2013) honours Tyndall's term for the emission of visible light from matter absorbing infrared energy. This piano piece transforms amorphous material into melodic and harmonic content, exploring the process of musical generation. Sun of Orient Crimson with Excess of Light (2020) takes inspiration from Tyndall's poetic reflections on nature. Combining live piano with sampled and treated sounds, the piece evokes the majesty of the landscape described in Tyndall's poem *A Morning on Alp Lusgen*. The collection culminates with Cello Concerto - Excursions and Ascents, drawing on Tyndall's mountaineering adventures. The concerto, commissioned by the RTe National Symphony Orchestra of Ireland, depicts the ascent of a solitary explorer through dialogues between the soloist and the orchestra, reflective sections, and a final portrayal of glacial landscapes. Grainne Mulvey, a distinguished composer and academic, has garnered international acclaim for her innovative works. With a career spanning over two decades, she has made significant contributions to contemporary music, earning numerous awards and commissions. The Tyndall Effect stands as a testament to her ability to weave scientific concepts into the fabric of abstract music, creating a profound connection between the realms of art and science.

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.

Walter Zimmermann is a leading figure in German new music, a prolific composer and a tireless advocate of other artists' work.-deserving to be much better known, his works, set in a deceptively simple way, are best heard in groups so as to emphasize his rich and coherent personal style.-performed by leading British interpreter of contemporary music, Ian Pace and recorded in the composer's presence.

The composer said Music can be defined as a series of proportions in the service of a divine impulse. A philosophy which is shared by composers from Bach to Camilleri, Machaut to Tavener, and which is certainly the ethos of Divine Art Records! While acknowledging the radical experiments of the 1960s and 1970s, Crumb's music became famous for it's instantly recognizable style, integrity and sense of mysticism, and an ability not to alienate audiences.

Musici Ireland: Earthrise Musici Ireland, led by violist Beth McNinch, has established itself as a pioneering force in Irish chamber music since it's formation in 2012. Known for commissioning and premiering contemporary works, the ensemble is distinguished by it's commitment to Irish and female composers, pushing the boundaries of modern chamber music with an interdisciplinary and socially engaged approach. "Earthrise," recorded at Grouse Lodge Studios, captures the ensemble at the height of it's artistic prowess. Produced by Jonathan Allen (Abbey Road Studios) and engineered by Alex Borwick, this album presents a collection of striking new works by leading Irish composers. Each piece offers a distinct perspective, contributing to the evolving landscape of Irish music. Deirdre Gribbin's Before the Moon Shattered and Shone Again explores cyclical time, inspired by Celtic mythology and the constant presence of the moon. The string quartet echoes nature's cycles, symbolizing life's waxing, waning, and renewal, a fitting response to the stillness and disruption brought on by the pandemic. Deirdre McKay's Mr Shah draws inspiration from the quietude of space, contemplating the stark contrast between the near silence of the cosmos and the richness of sound on Earth. It reflects on the solitude of an astrophotographer's nightly exploration of the universe, staring into the vast, soundless expanse. Ian Wilson's Her Charms Invited (String Quartet No. 12) reimagines the intricate ornamentation of traditional Irish sean-nos singing within a contemporary musical framework. The work offers a modern interpretation of ancient melodies, weaving fragments of Irish song into a contemporary context. Linda Buckley's Fiol (for String Trio) treats the ensemble as a twelve-stringed "meta-instrument," evoking the resonances of the Norwegian Hardanger fiddle. The interplay of sympathetic vibrations between instruments creates a rich, layered texture reminiscent of Baroque traditions. The title track, Liam Bates' Earthrise, commissioned by Musici Ireland, draws inspiration from the imagery of our planet in it's natural ascent. Featuring Beth McNinch on viola, the piece captures the viola's soulful resonance, evoking a wandering observer participating in the Earth's evolving rhythms and harmonies. With a strong focus on artistic excellence and cultural storytelling, Earthrise represents Musici Ireland's commitment to new music, offering a thoughtful contribution to Ireland's contemporary chamber music scene.

The Kreutzer Quartet has long been at the forefront of contemporary classical music, known for their enduring collaborations with a diverse range of composers. This album, Something So Transporting Bright, exemplifies their deep engagement with composers of multiple generations, from the late Gloria Coates, who began working with the quartet in 1992, to emerging voices like Tom Metcalf and Joel Jarventausta, both in their twenties. The four featured works capture a profound sense of artistic exchange, reflecting the quartet's unique position as both interpreters and collaborators. The music presented here emerged during a time of unprecedented global disruption. The pandemic heightened the value of creative partnerships, particularly in the realm of performance and recording. This album includes three works that were developed under lockdown conditions, where the act of collaboration became a source of resilience and renewal. Themes of water and the river flow through the compositions of Jarventausta and Metcalf, while Sadie Harrison's contributions were shaped by a profound response to the social upheaval following George Floyd's murder, reframing her ongoing work with the River Thames as a backdrop. The Kreutzer Quartet's long-standing relationship with Metier Records is central to their role within the contemporary music landscape. As a trusted ensemble for composers like Hans Werner Henze, Judith Weir, and David Matthews, they continue to push boundaries with each recording and performance. Gloria Coates' final work, performed live at her last birthday celebration, marks a poignant close to the quartet's decades-long collaboration with the composer, whose death in 2023 gives this album a reflective resonance. Something So Transporting Bright is a testament to the quartet's sustained commitment to new music, capturing the intensity and vitality of these compositions while showcasing the ongoing dialogue between past, present, and future in contemporary classical music.

This exciting album features world premiere recordings of nine chamber and solo works, profiling the distinctive and diverse voices of five celebrated British composers. The album explores the rich theme of the English landscape and it's cultural history through innovative and evocative music. "Distant Voices, New Worlds" is inspired by the interplay of contemporary and historical perspectives on landscape. At it's heart are four specially commissioned songs from 2022 for soprano and ensemble, forming the South Downs Songbook. This project meditates upon and celebrates the human experience of the South Downs, the chalk hills stretching from Winchester to Eastbourne. The project included extensive educational initiatives and the creation of a resource pack on composing, available through the Orchestra of Sound and Light, the Brighton-based ensemble known for blending traditional and contemporary instruments and incorporating visual art and moving images. The commissioned composers-Shirley J Thompson, Rowland Sutherland, Evelyn Ficarra, and Ed Hughes-each bring a unique perspective to the project. Their works are inspired by walking the South Downs and are set to texts that offer varied views on landscape and history: Shirley Thompson set Phillis Wheatley's "An Hymn to the Evening" (1753-1784), reflecting Wheatley's experiences in England. Rowland Sutherland chose a poem by Charlotte Turner Smith (1749-1806). Ed Hughes adapted words by Marion Robinson (1937), an early contributor to the Mass Observation Archive, influenced by William Blake's visions of the South Downs skies. Evelyn Ficarra set a poem by contemporary Brighton-based poet Valerie Whittington. Complementing these works are five additional compositions recorded by the New Music Players, creating a kaleidoscope of new British music and historical voices. Highlights include: An instrumental elaboration on Thomas Tallis's motet "In ieiunio et fletu" by Ed Hughes. Shirley J Thompson's tribute to Nelson Mandela, "Mighty Mandela," performed by solo flautist Rowland Sutherland. Evelyn Ficarra's solo piano meditation on a haiku, "The Arbitrariness of Language." A trio by Rowland Sutherland for cello, flute, and piano, blending jazz influences and a remix of Tallis's "Lamentations." Matthew Sheeran's "Languet Anima," inspired by fourteenth-century Ars Subtilior music. This project, developed with support from ACE and the South Downs National Park Authority, also received contributions from the Hinrichsen Foundation and Vaughan Williams Trust. It highlights the intersection of contemporary music, landscape, culture, and memory, emphasizing the significance of diverse artistic expression in fostering public awareness and well-being.