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.

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.

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.

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.

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.

Esteemed pianist James Iman releases his highly anticipated album, "Iman III," marking the third instalment in his groundbreaking series. Delving into a diverse repertoire, Iman's latest offering showcases a unique blend of piano works that resonate with the complexities of the human experience. The genesis of "Iman III" amidst the backdrop of the COVID-19 pandemic underscores the resilience and creative introspection that defined it's conception. Originally planned for recording prior to the pandemic-induced lockdowns, the project encountered delays, allowing Iman ample time to refine and redefine it's thematic underpinnings. The resulting album is a testament to the profound evolution of artistic vision in the face of adversity. Iman's eclectic program transcends traditional narrative structures, inviting listeners into a labyrinth of musical abstraction where each piece engages in a nuanced dialogue with it's counterparts. From Klaus Huber's haunting exploration of silence in "Ein Hauch von Unzeit II" to Alban Berg's masterful interplay of chromaticism and counterpoint in his Piano Sonata Op. 1, "Iman III" offers a multifaceted journey through the annals of musical expression. In Morton Feldman's "Last Pieces," Iman embraces the freedom afforded by the composer's experimental notation, weaving a tapestry of sound that defies conventional constraints. Emulating the randomness inherent in Feldman's ensemble works, Iman navigates the delicate balance between structure and spontaneity, inviting listeners to immerse themselves in a realm of deliberate and enjoyable ambiguity. Betsy Jolas's enigmatic "B for Sonata" serves as a fitting conclusion to the album, epitomizing the composer's innovative approach to form and rhythm. Through meticulously crafted rhythmic freedoms and evolving tonal landscapes, Iman breathes life into Jolas's introspective exploration of musical minimalism and existential inquiry. "Iman III" attests to James Iman's unwavering commitment to pushing the boundaries of artistic expression. With each track meticulously curated to resonate with the soulful intricacies of human experience. James Iman is a critically acclaimed pianist known for his innovative approach to repertoire and profound musical insight. With a career spanning decades, Iman has established himself as a prominent figure in the contemporary classical music scene, captivating audiences worldwide with his dynamic performances and meticulous attention to detail. "Iman III" marks the latest chapter in his ongoing quest to redefine the boundaries of artistic expression through the transformative power of music.

This album presents some of the music Liz Dilnot Johnson has composed for Ex Cathedra. Other works include the recent orchestral cantata I Stand At The Door, setting words by Greta Thunberg and Kurt Masur, described by Jeffrey Skidmore as 'Johnson's love-song for the planet', and two 'eco-carols' Generous Winter (2023) and Imagine A Winter (2023). These carols are inspired by Prof. Kate Raworth, whose book Doughnut Economics encourages a rethinking of global economics to ensure a "safe and just space for humanity to thrive in." The compser says, "I am now seeking ways of cultivating such a space through musical creativity, together with the Ex Cathedra team." The first half of the album presents some of Johnson's earliest works including O Vos with spirals of sopranos unfurling, defined by the Fibonacci Series, written as part of a collaboration with mathematician Prof. Ian Stewart. More recent pieces that have been commissioned and premiered by Ex Cathedra, with whom Liz is composer-in-residence, include Blake Reimagined, a lockdown work originally composed for remote choir (later released on Youtube) with soloists including Carnatic singer Debipriya Sircar with Jazz and Soul singers Margaret Lingas and Gabriella Liandu. Four of Johnson's carols include the playful eco-carol A Wild Midwinter Carol, the acerbic Magi (her earliest work), the eight-part advent motet Gentle Flame and the tender lullaby For This Babe. The Windhover, setting Gerard Manley Hopkins' extraordinary poemis a tour de force, scored for baritone solo for the expressively powerful voice of Lawrence White with 10-part choir, summoning up the wild kestrel at dawn. The range of choral works on this album spans the enormous output across the composer's life, performed with great flair by Ex Cathedra directed by Jeffrey Skidmore. The second half of the album presents one of Johnson's large-scale choral works, When A Child Is A Witness - Requiem for Refugees, winner of the Ivors Composer Award for community and participation (2022). Setting words from the traditional Requiem Mass, along with words from the English Prayer Book, these choral movements encompass a world of music from a simple call and response song to complex and emotionally driven music that takes the listener on an emotional journey, moving from darkness into light. Liz Dilnot Johnson, initially a dedicated teacher in South London and Birmingham, redirected her career towards composition after pursuing an MA and PhD at Birmingham Conservatoire. Despite plans to return to teaching, mentor Philip Cashian encouraged her to continue composing. Johnson's music has garnered widespread acclaim, performed by renowned artists and ensembles internationally. Her chamber works have earned numerous prizes, including the Birmingham Chamber Music Society Composition Prize and the International Alliance of Women Musicians' Gideon Prize. Larger-scale compositions like "de l'herbe qui s'eveille" have been lauded for their evocative qualities. Notably, her piece "Moon Incantations" was a British Composer Awards finalist, and her Requiem for Aleppo integrates amateur and professional performers, showcasing her commitment to socially inspired compositions. Currently, she is embarking on a significant project with Ex Cathedra, composing new music for period instruments akin to J.S. Bach's cantatas.

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.

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

Despite three decades apart, renowned Australian flautist Laura Chislett and composer Edward Cowie, with their instruments as extensions of thought, craft a rich tapestry of sonic colours and inventive possibilities. This profound ritual of spontaneous outpourings invites listeners on an immersive journey, experiencing the direct transmission of sensory encounters through eight tracks that shape the discovered music of the moment. The album, a testament to their enduring creative connection, offers a unique fusion of musical expression and the natural world, inviting audiences to join in this extraordinary sonic exploration created through skilled and instinctive improvisation.

The creative synergy between Chislett and Cowie, first sparked in 1989 during Cowie's tenure at The Australian Arts Centre in Townsville, North Queensland, resonates with a unique connection rooted in shared musical sensibilities and a deep appreciation for the natural world. Fast forward to 2022, when Laura travelled to England for a transformative recording project with Cowie, unaware that it would coincide with his decision to return to Australia. Motivated by a desire for a final adventure in the expansive Australian landscape, 80-year-old Edward Cowie embraced the opportunity to explore untapped musical potential since his departure in 1995.

The resulting album, a captivating collection of improvisations, bears witness to the duo's shared experiences and draws inspiration from both the Australian and British landscapes. The improvisations pay homage to the sonic narratives of birds, land, sea, and sky, interwoven with influences from revered visual artists like Kandinsky, Rothko, Pollock, and Heather Cowie, whose artwork is on the cover.

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.

Samuel Andreyev’s music is incredibly varied, from the sparse resonance of the Sonata da Camera, the ‘cartoon music’ (as the composer puts it) of Vérifications, characterised by primary colours and strong instrumental timbres; the Sextet in Two Parts which in contrast focuses on minute timbral shadings; and of course the cantata for solo voice and ensemble which is the title track of the album. Performed by ensemble proton bern, conducted by Luigi Gaggero with the magical soprano voice of Peyee Chen on In Glow of Like Seclusion (set to verse by J. H. Prynne) this album was beautifully captured in Zurich in 2022. The CD and digital album is to be followed with a double-LP vinyl version in the New Year.

Samuel Andreyev’s music has been featured in portrait concerts in Bern, Geneva, Toronto, Paris, Kyiv, Strasbourg, Montréal, Tours, and many other cities. Andreyev is a laureat of the Henri Dutilleux Prize (2012, for ‘Night Division’), and the Grand Prix Lycéen des Compositeurs (2020, for ‘Vérifications’). He is also Vice President of the music council of the Fondation Prince Pierre (Monaco). With his YouTube channel and Podcast, Samuel Andreyev presents lectures on musical topics, as well as long-form interviews with prominent musicians as varied as Brian Ferneyhough, every member of Captain Beefheart’s Magic Band, Linda Catlin Smith, Hugues Dufourt, Adam Neely and countless others.

A captivating anthology of British clarinet compositions curated and performed by versatile musician Ronald Woodley and pianist Andrew West. This collection explores British musical modernism, featuring both new and underappreciated pieces from the twentieth century by composers Elisabeth Lutyens, Angela Elizabeth Slater, Morris Pert, Christopher Fox, and Edward Cowie. Woodley's deep-rooted fascination for the basset horn, inspired by Lutyens, drove him to rediscover the world of British musical modernism, revealing its complexities and dynamics.

Notable compositions in the anthology include Elisabeth Lutyens'"This Green Tide" for the basset horn, Angela Elizabeth Slater's"Around the Darkening Sun" for bass clarinet and piano, Morris Pert's"Luminos" for basset horn and piano, Christopher Fox's"This has happened before" featuring multitracked bass clarinets, and Edward Cowie's"Heather Jean Nocturnes" inspired by visual art. This collection is a valuable addition for clarinet enthusiasts and music lovers, shedding light on the lesser-known gems of British music and showcasing the power of artistic collaboration across mediums, offering a glimpse into the evolution of British music.

Ronald Woodley has a distinguished academic background, holding the title of Emeritus Professor of Music at the Royal Birmingham Conservatoire. His career spans the roles of clarinettist, chamber pianist, and musicologist. Trained at the Royal Northern College of Music, he completed a doctorate in musicology at Keble College, Oxford. Woodley has been the dedicatee of numerous works by esteemed composers and has recorded a wide range of music, including bass clarinet compositions and twentieth-century British song. As a respected musicologist, he specializes in late medieval music theory, particularly the fifteenth-century musician Johannes Tinctoris, and has conducted research on various composers and early recordings. In his chamber pianist role, he has collaborated with renowned tenor James Geer and pianist Andrew West.

Andrew West, an accomplished pianist with a deep connection to contemporary music, has premiered works by renowned composers like Birtwistle, Henze, Goehr, and Wigglesworth in collaboration with prominent vocalists such as Mark Padmore and Roderick Williams. He also enjoys a long-standing partnership with flautist Emily Beynon, embarking on a five-CD project that explores flute and piano repertoire dating back to the Second World War. Andrew's extensive discography includes recordings with various artists, including Strauss, Les Six, and Schubert. He serves as Chairman and Artistic Director of the Kirckman Concert Society and holds positions at the Guildhall School of Music and Drama and the Royal Academy of Music, where he was recently named a Fellow.

In March 2026, Métier 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."

Get ready to be transported to the bustling streets of Berlin and the bright lights of Broadway with mezzo-soprano Aylish Kerrigan's latest recording. In this invigorating program, Kerrigan takes us on a journey through the timeless songs of Kurt Weill, one of the most renowned composers of the 20th century. From Weill's collaborations with Bertholt Brecht in the German Theatre to his iconic Broadway stage works, this recording has something for everyone. You'll hear classics like "Die Moritat von Mackie Messer" (Mack the Knife) and "Berlin im Licht," which captures the essence of the city as a love song. But that's not all – Kerrigan also brings us gems such as "I'm a Stranger Here Myself" from Weill's longest running musical, One Touch of Venus.

What makes this recording truly special is Aylish Kerrigan herself. Born and raised in San Francisco, Kerrigan is an established interpreter of German Theatre Music, having worked with some of the most noted Brecht specialists in the world. Her one-woman Broadway shows have earned her acclaim in major cities across the globe, from Paris to Dublin, New York to Berlin. Whether you're a die-hard Weill fan or simply appreciate great music, this recording is not to be missed. Critics and music lovers alike are sure to be captivated by Aylish Kerrigan's dynamic and soulful performances.

Metier is licensing a few particularly excellent recordings from the University of Hertfordshire which produced the UHR label some years ago and one of these is Rutherford's Lights, a piano cycle by Cowie and played brilliantly by Richard Casey. This epic cycle of 24 studies for solo piano explores the wonders of light in many states and forms from Simple Wave Motion to Dispersion and Radiation of Electromagnetic Waves. Himself an ex-student of physics, Cowie collaborated with Light Physicist Sir Michael Berry FRS in 'an adventure in illuminations, colours and photons!' The work was commissioned by The Institute of Physics in London, England and premiered and then recorded in 2010. This is music inspired by science inspired by music! Pianist Richard Casey gives a stunning and richly virtuosic performance of this work, which after it's premiere in The National Portrait Gallery in London, earned huge praise and plaudits for it's originality and creative power. Cowie- renowned for music that challenges all the senses, has literally made a sonic reality of illumination in all it's grandeur and kaleidoscopic possibilities. This is a re-release of the original 2010 recording, released at that time on the UHR label. This will be the first issue of the recording in digital form, the UHR original having been a limited CD release only. Edward Cowie has been described as the greatest living composer inspired by nature, and the recordings of his music issued by Metier over the last couple of years have drawn unstinted praise. In this, his 80th birthday year, a number of new recordings are in progress including the third volume in the Bird Portraits series, and music for string quartets and other chamber groupings.

A musical journey, James W. Iman's latest album, IMAN II, is a stunning blend of Classical and contemporary piano compositions that will leave you spellbound. Four years in the making, this album is the culmination of Iman's passion for Debussy and Donald Martino, as well as his permiere of work from composer and sound designer, Jenny Beck. Iman's masterful interpretations of Martino's Fantasies and Impromptus are nothing short of awe-inspiring, and his renditions of Debussy's works provide the perfect contrast, bringing together the past and present in a way that is both exciting and unique. But it is Beck's electrifying compositions that truly set this album apart.

Iman says, "I have played Stand Still Here more times than any other work in my repertoire. Each of the five pieces that comprise the work are brief–the longest is four minutes–but Jenny Beck achieves a depth of introspection and emotional sweep that is absolutely magnetic.” What makes Beck's work so remarkable is the way she achieves such depth and complexity with seemingly simple motives and harmonies. The pieces on this album hover and linger, creating a hypnotic and immersive listening experience that is nothing short of miraculous. Iman's passion and dedication to this project are evident in every note he plays. He has crafted a captivating album that showcases his skill as a pianist and his ability to bring together the best of the past and present in a way that is fresh, exciting, and deeply moving.

Gemini, one of Britain's most distinguished ensembles specialising in new music, present their exceptional new album of works of renowned composer Nicola LeFanu. This beautiful recording, produced for Metier, showcases a harmonious blend of vocal and chamber compositions, including a timeless gem from the ensemble's longstanding collaboration with LeFanu dating back to the 1970s.

Featured Compositions:

The Same Day Dawns (1974):
A mesmerizing composition scored for soprano and five instruments, incorporating verses from poems in Tamil, Chinese, Japanese, Kannada, and Akkadian.

Sextet (1996):
An evocative piece inspired by the untamed beauty of Irish landscapes, capturing the essence of Roundstone bog, the Connemara coast, and the wild flowers at Kilbaha in Co. Clare.

Piano Trio (2003):
A lyrical masterpiece, seamlessly woven into a single movement, exploring melodic and rhythmic transformations, characteristic harmonies, and unifying resonances.

The Moth-Ghost (2020):
A dramatic scena for soprano and piano, narrating the poignant tale of Thetis, a sea-goddess from Greek mythology, mourning the loss of her son Achilles in the Trojan war.

Nicola LeFanu, born in 1947 in England, is a distinguished composer with a prolific body of work, totaling around one hundred compositions. Her diverse musical creations have received global acclaim and recognition, with commissions from prestigious institutions and performances by leading orchestras, ensembles, and soloists. A proud Harkness Fellow and recipient of honorary doctorates, LeFanu's musical legacy is published by Novello and Edition Peters.

Established in 1974, Gemini has consistently showcased a richly varied repertoire spanning multiple musical eras and genres. Directed by clarinettist Ian Mitchell, the ensemble's performances feature a diverse selection of chamber music, including twentieth-century, new, and neglected compositions. Gemini is committed to fostering inclusivity, featuring works by women and other underrepresented composers, as well as exploring music from non-Western European traditions.

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.

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.