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.

Many years ago a friend of mine working as a copyist for Universal Edition was involved in the publication of some of Murail's chamber music. She said that in her estimation Murail was a composer of real significance. However it has proved quite difficult to hear much of his music either on the BBC or on CD. To make some amends we now have the complete piano music dating from between 1967 when the composer was still a student through to 2003. This covers a period of thirty-six very significant years. Across that period we see charted the composer's progress and development in one very telling and disciplined medium: the piano. So what can you expect to hear?

Murail was a pupil of Messiaen and won the Prix de Rome in 1971. The early Comme un oeil suspendu et poli par le songe ("Like an eye hung and polished by the dream" - my translation) is described in the press notices as 'newly discovered'. It is not much more than a clone of his teacher in its harmonic progressions and rhythms. However there is also a feeling of something beyond Messiaen which climaxes twenty-five years later in the beautiful brief Cloches d'adieu, et un sourire ("Farewell bells and a smile"). This is a wistful and thankful farewell to his teacher which, although showing his influence, has most certainly moved on significantly and become a more personal statement. What had happened in between?

One important development was Murail's work in the electronic music field. In the eighties he started using computer technology to further his research into acoustic phenomena. From 1991 to 1997 he worked at IRCAM and helped to develop the 'patchwork' composition programme. This influence has fed into creating a style now known as 'spectral music'. The meaning is difficult to pin down but the best description I can give is: a recorded pure sound is transformed in a way which makes it entirely different from its starting point. The full range of acoustic sounds is used from the highest to the lowest. The way this can be transposed to the piano can be heard in the textures of the forty minute span of Les Travaux et les Jours (Works and Days). This divides into nine manageable sections which are inter-related but which each display a different sound-world. Number six reminded me of Ligeti with its falling cascades of scales tumbling at slightly different speeds - all quite beautiful. The third movement also intrigued me, consisting at first, of a repetition of long-held Messiaen-like chords (quite a finger-print this throughout the disc) with gentle splinters above. This then evolves into a shower of notes which, bird-like, flutter overhead and then combine with the original chords. The composer's own programme notes which accompany this double CD comment that there are "nine independent pieces, but minutely intertwined. The music revolves around a B-C tremolando and is supported by a low F which is only fully unveiled at the end of the cycle". One is, as it were, left in suspended animation. I found it quite gripping. More so in fact than the thirty minute Territoires de l'Oubli (Lands of Oblivion). The younger composer here does not quite bring off his scheme where he is trying out new 'acoustical phenomena’. He uses gentle repetition of a low D sharp over a major 7th with harmonies clarifying and then vanishing into the sustaining pedal. The composer talks of acoustic interference which "modifies and enriches the colour". But with its opening tremolando crescendo the piece demonstrates that peculiar French sensibility to sound for the sake of sheer pleasure - total sensuousness. The sounds create the form if there is one at all; a state which Debussy (and for that matter Dutilleux) might have ideally wanted in his piano music. I have to say that this piece takes too long in creating its final culminatory experience.

Estuaire divides into two movements. The first, Près des rives (By the riverside) is the shorter one and demonstrates another aspect of Murail's colour scheme. This one is darker, sterner and even, more violent. Its successor, Au mélange des eaux (On the blending of the waters) is left to brood on its consequences. Neither piece outstays its welcome and as a whole the work makes a strong impression.

Finally La Mandragore ('The Mandrake' - a magic, wild plant) inhabits a similar sinister sound-world to Près des rives. It is remarkable in its use of bass sonorities and in the repetition of one particular chord. At nine minutes or so it just reaches its right length before vanishing.

I have lived with this music, all new to me, for a month, and I am sure that my time has not been wasted. While listening I am constantly possessed by an impression of something beyond the world, not conventionally religious, but spiritual. This is music to which I shall be happy to return.

I have reviewed several Métier discs over the last few years and find that the recordings are often not of the best quality. However on this occasion there is nothing between the music and the listener; that can only be considered an accolade.

As for the performances you can rest assured that in Marilyn Nonken we are hearing a musician of outstanding qualities. It is evident that she knows, strongly characterises and loves this music. She has performed it and many other 'difficult' contemporary works all over the world and is a pianist in whom we can trust. Her mastery of Murail's sonorities and her virtuosity are truly remarkable and demand attention.

- Gary Higginson, MusicWeb International

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.

In her new album acclaimed pianist Tomono Kawamura invites listeners on a satisfying journey through classical piano music. Blending personal favourites with timeless masterpieces, Tomono's profound connection to the piano is evident in every piece. Her distinct poetic sensitivity and technical brilliance bring each composition to life, creating a deeply personal and immersive musical experience. The album opens with Tchaikovsky's Autumn Song, Op. 37a No. 10, from The Seasons. Tomono captures the reflective and nostalgic mood of October, emphasising the delicate interplay of light and shadow in this evocative work. The journey continues with Sibelius's "Edit," Op. 76 No. 2, where Tomono masterfully balances subdued elegance with quiet intensity, reflecting the stark beauty of the Finnish landscapes that inspired it. Brahms' Hungarian Dance adds a lively burst of energy, with Tomono navigating it's spirited rhythms and fiery folk influences with joyful intensity. Her deep affinity for Chopin shines through in her performances of six of his works, each chosen to highlight different facets of his genius. From the lyrical intimacy of his nocturnes to the virtuosic brilliance of his etudes, Tomono's interpretations resonate with the emotional depth central to Chopin's music. The album also explores diverse stylistic periods with selections from Scarlatti, Rachmaninoff, Debussy, and Grieg. Tomono's performances reflect a profound understanding of these great piano works, whether it's the crystalline precision of Scarlatti's sonatas, the sweeping passion of Rachmaninoff's preludes, the dreamlike textures of Debussy, or the rugged beauty of Grieg. A highlight of Reminiscence is Tomono's original composition, Variations, which bridges classical form with contemporary expression. This piece showcases her creativity and deep understanding of the classical tradition, offering a fresh voice while paying homage to the composers who have shaped her musical journey. Reminiscence is more than just a collection of piano works; it reflects Tomono Kawamura's lifelong devotion to music. Through her thoughtful interpretations and masterful technique, she offers listeners an experience that lingers long after the final notes fade. About Tomono Kawamura: Born in Japan, Tomono Kawamura began piano studies at three and made her orchestral debut at fifteen. After winning numerous competitions in Japan, she received a scholarship to study at the Royal Academy of Music in London, where she graduated with First Class Honours. Tomono has performed as a soloist across Asia, Europe, and the UK, including at Wigmore Hall. She is also a celebrated performer on luxury cruise ships worldwide. Tomono's rich career and dedication to her craft are evident in every note of Reminiscence, offering listeners a glimpse into the soul of a true artist.

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.

Metier’s top line release for 2015 is this program which may be the first ‘music DVD’ devoted to contemporary percussion works. More than that, it has been produced with stunning graphics and visual enhancements as well as ‘straight’ video of the performances thanks to the work of top Danish movie director Christian Holten Bonke. The program includes the most iconic of modern percussion classics, ‘Psappha’ by Iannis Xenakis, together with his much more recent ‘Rebonds’. Works by Henze, Donatoni and Ferneyhough utilize wide ranges of tuned and unturned instruments, while the pieces by Jodlowski and Globokar use different materials altogether. Even for the non-percussion fan, the film is one to watch again and again. Mathias Reumert is one of Europe’s foremost percussionists, having been awarded the DanishMusic Critics’ Prize for 2015.

Metier proudly presents the release of Param Vir's double opera bill, featuring "Snatched by the Gods" and "Broken Strings," originally broadcast on BBC Radio 3's Hear and Now show in September 1996. These compelling one-act operas, performed by Almeida Opera with the London Sinfonietta under the masterful baton of Markus Stenz, showcase Vir's exceptional talent for both vocal and instrumental composition. Snatched by the Gods Inspired by Tagore's narrative poem "Debatar Gras," this opera immerses the audience in a dramatic tale of devotion, fear, and divine retribution. Commissioned by Hans Werner Henze, "Snatched by the Gods" is the gripping first part of the double bill, where Vir's music vividly portrays the emotional and physical journey of pilgrims facing nature's fury and their own superstitions. The piece brilliantly echoes influences from Berg, Britten, and Messiaen, yet firmly establishes Vir's unique musical identity. Scene I At dawn, amidst the preparations for a pilgrimage, tensions arise as Moksada and her son Rakhal seek to join the journey. Despite initial reluctance, Maitra allows them to board, setting off a chain of events marked by maternal fear and communal panic. As the pilgrims embark, an orchestral interlude captures the serenity and anticipation of their voyage. Scene II The return journey turns perilous as a storm brews, leading to a climactic struggle against nature and fate. In a desperate bid to appease the gods, Rakhal is tragically sacrificed, his death prompting a devastating realization for Maitra, who plunges into the sea, enveloped in guilt and despair. Broken Strings The second opera, also commissioned by Hans Werner Henze, draws from the ancient Buddhist tale "Guttil Jatak," delivering a story that intertwines musical mastery with profound moral lessons. Vir's enchanting score brings to life a rich tapestry of characters and mythical creatures, each vividly depicted through his inventive orchestration. Synopsis In a kingdom searching for it's next Player to the King, the arrogant young musician Musil faces an unexpected challenge from the humble, nearly blind Guttil. As Guttil's instrument breaks string by string, his music grows increasingly extraordinary, conjuring magical beings and mesmerizing the court. Musil's attempt to replicate Guttil's magic leads only to his own downfall, highlighting the folly of envy and the true essence of artistic brilliance. This tale, framed as a "play within a play," captivates not just the onstage audience but also the listening spectators, drawing them into a narrative where music and morality are deeply intertwined. The opera features notable performances, including the superb vocal talents of Susan Gorton, Ann Archibald, and Richard Lloyd Morgan, with Welsh tenor Wynne Evans, known as the moustached tenor in the Go Compare adverts, adding a familiar touch. The London Sinfonietta, renowned for it's dedication to contemporary music, brings Vir's complex and evocative compositions to life with precision and passion. Founded in 1968, the ensemble has a rich history of commissioning and premiering groundbreaking works. It's commitment to innovation and education ensures that each performance resonates deeply with both seasoned audiences and new listeners alike. Experience the powerful storytelling and exquisite music of Param Vir with this landmark Metier release, a testament to the enduring impact and creativity of contemporary opera.

Metier Records proudly presents "Resonating Earth," the latest album by acclaimed pianist Carolyn Enger. Resulting from a multimedia project, developed in collaboration with producer and video artist Elliott Forrest, visual artist Myles Aronowitz, and photographer/activist J. Henry Fair, the work addresses the urgent climate crisis through the transformative power of music and art. Resonating Earth emerged from Enger's profound connection to nature and her dedication to environmental activism. Living in a wooden house outside Manhattan, Enger draws inspiration from the natural vibrations of her seven-foot Steinway piano, her personal yoga and meditation practices, and her profound love for the planet. This album, born from those inspirations, offers a sonic environment conducive to contemplation and openness, featuring a diverse collection of compositions that span multiple generations and schools of thought. The album opens and closes with works by Meredith Monk, whose pieces "Quarry Waltz" and "Ellis Island" frame the program with themes of totalitarianism and the promise of freedom. Interwoven throughout are compositions by Marcos Balter, Nico Muhly, Wolfgang Rihm, Missy Mazzoli, John Cage, John Luther Adams, Philip Glass, Iman Habibi, Caroline Shaw, and Sean Hickey-each bringing unique perspectives and emotional depth to the project. Key highlights include: Marcos Balter's Bagatelle: A piece filled with simple, spare gestures fading into chasms of silence, creating a resonant environment for reflection. Nico Muhly's Lilt: Broadcasting assurance through steady rising fourths and hymn-like melody. John Luther Adams's Nunataks: Inspired by the solitary peaks of glaciers, evoking human isolation and vulnerability in the face of climate change. Iman Habibi's in the brittle quietude: Reflecting on the pandemic's impact and hoping for a more equitable and conscientious future. Resonating Earth not only showcases Enger's lyrical and dynamic playing but also her deep commitment to using art as a means to inspire and provoke thought about our relationship with the planet. Enger's previous recordings have garnered critical acclaim, with The New York Times and Gramophone praising her ability to elevate musical miniatures to profound levels. Enger's extensive performance history includes prestigious venues such as Weill Recital Hall at Carnegie Hall, the National Gallery of Art in Washington, D.C., and the National Gallery in Oslo. Her multimedia collaborations extend to exhibits at the Cooper Hewitt Smithsonian Design Museum and the Jewish Museum Berlin. Resonating Earth is more than an album; it is a call to action, a reminder of the interconnectedness of art, humanity, and the environment. About Carolyn Enger Pianist Carolyn Enger has gained critical acclaim for her deeply felt interpretations and dynamic performances. Her Naxos recording of Ned Rorem's miniatures was named one of The New York Times' "Best in Classical Recordings," and she continues to captivate audiences worldwide with her passion, skill, and genuine warmth. A Steinway Artist, Enger is dedicated to bringing music to diverse audiences in accessible civic spaces.

Leading composer Michael Finnissy started by improvising Gershwin songs as recital encores - then developed them into formal pieces in order to explore an era in which jazz and modernism both evolved in response to social change he wrote two groups of arrangements, both here in their only complete recording.