Hafliði Hallgrímsson (b.1941) is widely regarded as Iceland’s pre-eminent composer, as well as a highly accomplished cellist. He studied with Enrico Mainardi and Sir Peter Maxwell Davies and was cellist with many leading chamber ensembles until devoting himself full time to composition in 1983. Also, in 1970, Hallgrímsson played the (uncredited) cello solo on “Atom Heart Mother” by Pink Floyd. His voice is extremely distinctive and within modernist styles can communicate ‘serious’ emotions of loss and sorrow and also intensive wit and charm as demonstrated so well by his Klee Sketches on this recording. The Klee Sketches are dedicated to Peter Sheppard Skærved, the performer here. Peter Sheppard Skærved is known for his pioneering approach to the music of the past and our own time. Over 400 works have been written for him. Peter’s exhaustive work on music for violin alone has resulted in research, performances and recordings of cycles by Bach, de Bériot, Tartini, Telemann, and, most recently, his project, ‘Preludes and Vollenteries’, which brings together 200 unknown works from the seventeenth century. His dedicated support of contemporary music (especially with his ensembles, the Kreutzer Quartet and Longbow), is considerable. He is also an accomplished painter and a published writer on many subjects.

This fabulous new album, co-produced with Bavarian Radio, presents top German piccolo virtuoso Natalie Schwaabe in an international program of recent works for ‘the screaming twig’ as the instrument is sometimes known in orchestral circles. No screaming here, though the instrument’s upper stratospheric registers are fully exploited – these works are modern and freely composed but will still be attractive to conservative listeners with elements of traditional tonality and jazz and utilizing the middle and lower ranges of the piccolo which can be ethereal and smooth. The range of pieces is wide, from the somber ‘Lachrymose’ for solo piccolo, to the bright and buzzy sonata by Gyöngyosi, and the new setting of The Pied Piper story by Kanefzky. Natalie Schwaabe was born in Tokyo, grew up in Hong Kong, studied in London and obtained her degree in Munich where she is now based, playing with the prestigious Bavarian Radio Symphony as well as enjoying a busy solo and chamber music career. Her regular partner Jan Philip Schulze is carving out a fine reputation in the new-music field with recordings for several labels, and is sought after to accompany many top vocalists.

Wonderfully evocative British choral music written recently, from three fine but lesser-known composers and the better-known Michael Berkeley. For the Williamson Missa Tertia, the singers are joined by the Choir of St. Mary Magdalene, Oxford.

For most of his life Eric Craven has kept a very low profile, concentrating on his teaching career and quietly developing his ‘non-prescriptive’ composing method, a sort of aleatory style but which allows the performer varying degrees of freedom. His earlier cycle of short pieces, ‘SET’, was recorded after Craven was persuaded by leading pianists to make his work available. Highly praised, that technique is shown again to great effect in the ‘Pieces for Pianists’, producing music that is varied, interesting, but perfectly accessible for listener and performer. The composer states that his hope is ‘to reward any pianist with even modest ability with immediate success’ while also providing a challenge to more accomplished pianists to explore new territory. The pianist says that this collection ‘will prove endlessly rewarding’. Mary Dullea is an Irish pianist based in London, who enjoys a very busy career as a soloist and chamber musician and regularly performs and broadcasts in many countries. Her discography is exceptional and demonstrates her support and championing of new music. Her pianism and musicality as well as remarkable virtuosity make her an ideal interpreter. She is also Reader in Music at Royal Holloway, University of London.

A most remarkable CD, demonstrating the real avant-garde in vocal music, requiring phenomenal levels of vocal virtuosity. The performance by Clare Lesser is awesome and an object lesson in how to interpret challenging material.

NIcholas Sackman's music is not limited by particular stylistic lines but within the freedom of contemporary expression uses traditional qualities of harmony, pitch and rhythm to engage with the performer and listener. More simply, just really good music.

This album, featuring several of the UK’s most accomplished performers, explores the Macedonian composer’s search for ‘chroma’ (color) in both harmonic and formal structures, traditional and experimental sonorities and in a need for deeply dedicated performances of physical directness. The composer’s challenging quest has produced a program of works with interweaving strands of expression, some of which were written during the pandemic lockdowns of 2020 and 2021.Mihailo Trandafilovski is a performer-composer in the mold of Telemann, Bartók, Joachim and Liszt. Like them, it is quite impossible to separate his compositional and instrumental imaginations, and he exhibits a swirling yet sold inter-dependence between the energies of each. His contribution to the violin is extraordinary; his violin-piano duos (sonatas in all but name), concerti, violin duos, chamber works and pedagogical works are gifts for audiences and players alike. Previous recordings of his works have attracted glowing reviews around the world.

Kasra Faridi delved into a composition that emerged from months of immersive research into the sound of recursive functions, a deeply mathematical endeavor. Faridi delved into programming using C and Csound languages, crafting a sonic landscape that intertwines the realms of mathematics and music. As a pianist immersed in the classical repertoire, Kasra encounters counterpoint daily, with the works of Bach serving as a constant source of inspiration. Reflecting on the origins of musical expression, Faridi draw parallels between the concept of counterpoint and the primal echoes of sound reverberating within a cave, evoking a sense of ancient musical discovery. The use of the recorder, the oldest known instrument dating back 24,000 years, further enriches the sonic narrative, with it's delayed and evolving sounds mirroring the gradual evolution of human understanding and civilization. "I was thinking of The fall of Adam, which Maybe is a symbol of civilization and the process of Man self-awareness. Throughout the movements of this release, I sought to evoke a sense of timelessness and transcendence, drawing inspiration from the rituals and practices of Neanderthals. The deliberate avoidance of modern sounds in the second and fourth movements creates a sonic space that resonates with the ancient, while the incorporation of musical intervals in the fourth movement shapes a landscape of consonant harmonies. As the composition unfolds, the fifth movement emerges as a culmination of this sonic journey, where the melody and harmony coalesce in a harmonious union, symbolizing the embrace of civilization. This movement serves as a musical reflection on the transition from early nomadic cultures to sedentary societies, culminating in the embrace of modernity and industrialization, encapsulating the evolution of humanity through sound and melody. I was thinking of The fall of Adam, which Maybe is a symbol of civilization and the process of Man self-awareness." Aida Hormozian was born in 1990 in Tehran, Iran. Aida's passion for music and the recorder began at a young age, leading her to pursue a Master's degree in English Literature while honing her skills as a recorder player. Her dedication to the instrument was further fuelled by her participation in various festivals across Iran, which inspired her to pursue further training and education in recorder performance. Aida's musical exploration also led her to delve into contemporary recorder playing under the guidance of Sarah Jeffery, illuminating a new path in her musical expression. This journey culminated in the creation of "The Fall," an Electro-Accoustic composition by Kasra Faridi, reflecting Aida's artistic evolution and dedication to pushing the boundaries of contemporary recorder performance." Kasra Faridi, a distinguished Classical Pianist and Composer, was born in 1992 in Tehran, Iran. His musical journey began at a young age, studying under the guidance of esteemed instructors such as Houman Dehlavi, Tamara Dolitzeh, Arpineh Israelian, and Gagik Babayan. Notably, Kasra showcased his exceptional talent by performing his very first piano solo at the age of six. Over the years, Kasra has garnered acclaim as a sought-after performer at numerous piano soloist festivals, including the prestigious Tehran Soloist Festival, Biennial Festival, Schubert International Music Festival, Youth Festival, and Classic to Contemporary Festival, among others. In addition to his musical prowess, Kasra is also an accomplished theoretical physicist, holding a master of science in theoretical particle physics from Tehran University. His proficiency in mathematics has greatly influenced his passion for electronic composition and programming, which he honed under the tutelage of Joachim Heintz. Furthermore, he has studied general and classical composition under the guidance of Houman Dehlavi and contemporary composition under Kiawasch Sahebnassagh. Kasra's ability to seamlessly blend art and science has enabled him to craft a distinctive sound that stands out in the realm of classical contemporary music. Having recently relocated to Toronto, Kasra looks forward to contributing his unique blend of art and science to the vibrant musical landscape of the city.

Edward Cowie is considered by many to be the greatest living composer directly inspired by the Natural World. His post-impressionist works, from the gigantic orchestral Leviathan (his first Proms commission) to his cycles of Bird Portraits and other chamber and instrumental pieces are drawing gasps of admiration from critics and audiences alike. Originally recorded for the University of Hertfordshire’s UHR label, this recording has been restored to the catalogue as part of the quickly-growing Cowie collection on Métier Records. The composer feels strongly that the individual works in the Bach ‘48’ and Debussy’s Préludes(for example) were a series of linked parts creating a greater whole. In his own ‘24’ Cowie has taken that principle but expressed it in his unique way – music that is impressionist, pictorial, descriptive and above all evocative… of place, time, flora and fauna” experiences of both natural and man-made phenomena. The Preludes follow the ‘Bach cycle of keys’ but at the same time are grouped into four books representing the ancient ‘Four Elements’.

Philip Mead studied at the Royal Academy of Music and has had a widely successful career, performing and broadcasting internationally. He had his own series on BBC Radio 3 exploring hidden pathways in piano music. A champion of contemporary composers, he founded the British Contemporary Piano Competition in 1988. He has been awarded honorary doctorates at the London College of Music and the Royal Academy and is a visiting professor of the University of Hertfordshire.

Choral music has always been a constant thread throughout the compositional development of Rhona Clarke (b. 1958). The works on this album range over a thirty-year period and demonstrate the increasing individuality of her work, though rooted in the choral tradition of Ireland and Britain. Her chamber and instrumental works can reach out in far more extreme modernist styles. From the darkness of Ave Atque Vale to the sheer breathtaking beauty of Pie Jesu or Lullay, my Liking, Clarke shows herself here to be among the most effective, inspired and communicative choral composers of today. The album contains sacred works; from her Requiem which concentrates on the message of redemption and omits the judgmental sections, to Marian Anthems and three Christmas Carols; and also secular songs of love, loss and black comedy. The Latvian State Choir is the leading professional choir in the Baltic States, and is in high demand internationally having worked recently with the Concertgebouw and London Philharmonic Orchestras (among many) and has recorded for Naxos, Harmonia Mundi, Warner and other top labels. This is the choir’s debut album for Métier.

Edward Cowie is considered by many to be the greatest living composer directly inspired by the Natural World. His post-impressionist works, from the gigantic orchestral Leviathan (his first Proms commission) to his cycles of Bird Portraits and other chamber and instrumental pieces are drawing gasps of admiration from critics and audiences alike. This album focuses on Nature in the smallest sense - the subatomic building blocks of the Universe, and the conceptual realization of mathematical structures in art by the great symbolic abstract artist Kandinsky. Three works for guitar(s) - solo, duo and quartet - are bookended by a violin duo and an oboe solo in a collection which once again demonstrates Cowie’s genius and his place as one of today’s most inspired and inventive composers – a place which is being confirmed by critics more and more with each new album.

The performers are all leaders in their fields: Skærved and Trandafilovski are the two violinists with the Kreutzer Quartet as well as having varied successful careers as soloists, composers/arrangers and educators – with many Metier and Athene recordings to their names. Christopher Redgate is recognized as one of the world’s foremost oboists specializing in new music (and the inventor of the Howarth-Redgate oboe) while Saki Kato and Hugh Millington are creating a fine reputation for their championing of contemporary guitar music. They are also recording music by Trandafilovsky for a new Métier release in November. Overall this recording reinforces the brilliance of Cowie’s writing and shows his ability to create fine works for instruments he was not previously familiar with!

“What is really interesting about Geoffrey’s music is that it looks orthodox on the page initially, but is in fact extremely thought-provoking. He has a unique way of combining the familiar with the unfamiliar: Geoffrey’s music is always extremely well crafted and looks deceptively simple on the page, but as soon as you begin to play any phrase from his works you discover that he is always subtly reinventing the wheel! There is subtle originality, extraordinary variety and colourful fascination in his prolific output for the instrument. The recordings...will unquestionably amount to a significant contribution to the development of the 20th/21st century piano sonata.” (Murray McLachlan)

Murray McLachlan’s discography now includes over forty commercial recordings, including the complete sonatas of Beethoven, Myaskovsky and Prokofiev, the six concertos of Alexander Tcherepnin, the 24 Preludes and Fugues of Rodion Shchedrin, Ronald Stevenson’s ‘Passacaglia on DSCH’ the major works of Kabalevsky, Khatchaturian and the complete solo piano music of Erik Chisholm.

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

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 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.

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.

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.

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.

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.

In May 2026, Metier Records proudly presents American Ethos from acclaimed pianist Carolyn Enger, a stunning collection of works from a range of American composers, including Leonard Bernstein, Aaron Copland, John Corigliano, Ned Rorem, William Grant Still, Florence Price, and many others. Released in time for the celebration of the 250th anniversary of America's Declaration of Independence, Carolyn Enger poses the question of how to characterise American composition over so many years and throughout times of such sharp division. How can a musical 'Ethos' be encompassed in all it's various styles, sentiments, and beliefs? "I wanted to have a broad feeling of Americana," Enger explains. "Voices that have been overlooked over the years then come to light because they influenced voices that we're very familiar with." Enger has long been a champion of the piano music of Ned Rorem, and American Ethos centers his work, The Wind Remains, alongside three selections from Soundpoints, each a brief moment of distilled emotion. Rorem then stands as a starting point for connecting Enger's vision of American composition threads. Contemporary composer Daron Hagen was Rorem's first student, and we hear his Five Nocturnes, telling of a family setting down for the night. Rorem's roots in American music go deep as well, having studied with composer Margaret Bonds, who was herself a student and friend of composer Florence Price. Enger presents the African-American sacred music traditions behind Florence Price's Adoration. Price influenced many American composers beyond Bonds and Rorem, including William Grant Still. Price's influence on Grant Still is easily heard in his evocation of the divine in Seven Traceries: A Suite for Solo Piano, of which Enger plays four. Perhaps one of the most famous of American voices is Leonard Bernstein, who spoke about the healing power of music as a response to violence, and several works in this collection connect to him. His Thirteen Anniversaries, by turn tender and whimsical, celebrates 13 family members, friends, and colleagues. One of these is composer Craig Urquhart, a former assistant, represented here by The Awakening, Urquhart's birthday offering to Bernstein, and Adieu, which followed the global pandemic and 2020 political upheavals. John Corigliano's An Anniversary for Lenny is an affectionate remembrance for a 2016 Bernstein centennial celebration, and Aaron Copland's 'Our Town' Three Piano Excerpts is similarly dedicated to Bernstein. Completing Enger's vision of a comprehensive, inclusive American ethos is 'The Vastland' from Under the Blue Dome by San Francisco-based composer of Native American descent JJ Hollingsworth, conjuring the Colorado plains, and Margaret Ruthven Lang's Twilight, the first woman to have a work performed by a major American orchestra. New York City-based writer and editor Steve Smith says in his excellent booklet notes: "What emerges in this collection of disparate yet interconnected lives and works is a patchwork quilt of individual voices, perspectives, and aspirations, woven together to form a more perfect union stronger than it's parts. The music they made, informed by shared stories and songs, brings to life the sky, stone, sinew, steel, and sentiment that make up this nation - an American ethos, expressed in sound". Internationally celebrated American pianist Carolyn Enger has gained critical acclaim for her exquisite lyrical playing and her deeply felt interpretations, with many performances across the United States and Europe. Her 2013 recording of Ned Rorem: Piano Album I was on The New York Times Best of Classical list that year, and her recent Metier recording Resonating Earth, an artistic response to the contemporary climate crisis, received glowing praise: "a thoughtful programme. Enthralling" (Nigel Simeone, International Piano). Ms Enger studied at the Manhattan School of Music and is a Steinway Performing and Recording Artist.

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.

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.

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.

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.

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.