Thomas said, "Music is akin to an infinite alphabet." Weaving together two texts, originally written in two different alphabets (about 800 years apart,) Freedom To be Free and Sky Bound unfolds and develops an elegant, resonant, graceful dialogue between Parks' "Freedom" and Rumi's "Love". Textual and musical braids embody Thomas' notion of "infinite alphabet." Rosa Louise McCauley Parks was an African-American activist in the civil rights movement, best known for her pivotal role in the Montgomery bus boycott. The United States Congress has honored her as "the first lady of civil rights" and "the mother of the freedom movement." Parks received countless recognitions, including the Presidential Medal of Freedom. Rumi was a 13th-century Persian poet, Hanafi faqih, Islamic scholar, Maturidi theologian, and Sufi mystic. Like other mystic and Sufi poets of Persian literature, Rumi's poetry speaks of love which infuses the world. This is made explicit in Rumi's verse (not included in this composition) that describes love as "that flame which, when it blazes up, burns away everything except the Everlasting Beloved." � Augusta Read Thomas

Rococo Fantasies is a set of 11 bagatelles. Each moves from one tone centre to another, often via 'chromatic mediant' harmony (a major or minor third above or below the tone centre). Book One contains 6 of them. They endeavour to create a variety of idiosyncratic rhetorical characters by swerving between multiple metrical, thematic, and textural ideas rapidly in the course of a few measures in some of the pieces, but beavering away at just one or two (over rapidly modulating harmonic changes) in others.

Passacaglia on the chorale 'Komm, Gott Schopfer, Heiliger Geist' by J S Bach is based on a chorale melody derived from the famous plainsong hymn Veni Creator Spiritus. This is the 'ground bass' on which this Passacaglia is built. However, like many Passacaglias in the Canonic Repertoire, the theme often strays into the upper voices of the texture, and because of the relative length of the theme, it has something of the sense of a set of variations as much as of a Passacaglia. The chorale melody modifies the plainsong melody somewhat by moving it's third cadence from the sub-dominant to the dominant, thus creating something of a sense of the confluence of authentic and plagal modes. In some variations I have modified the tune further, to create Phrygian and other modal structures, authentic and plagal. Finally, each of the 12 variations bases the melody on a different tone-centre (plus it's authentic or plagal structures): encompassing all 12 tone-centres (B-flat, E, F-sharp, E-flat, F, A, D, C-sharp, G, A-flat, B, C) over the course of the piece.

Etude-variations: Under Aldebaran is also a Concert Study, based on the poem by Australian poet James McAuley, but is very different from the collection of the 'Transcendental' 12. It's the only atonal piece in this album, and by far the most complicated in it's detail, and was written many years earlier. It consists of an introduction (wherein 8 fragmentary figures are laid out by a handful of notes), followed by 8 variations on each figure in turn (in 3 different tempi), concluding with a 'whispering' coda in the piano's high register.

Bebop Riddle IIB is by turns sprightly, spry, energetic and spirited. Thomas crafted animated, traveling, flexible, versatile, changing, fluid and buoyant sonic adventures. Iridescent, bold and scintillating, the carefully sculpted and fashioned musical materials of Bebop Riddle IIB are agile and vivacious, and their flexibility allows pathways to braid harmonic, rhythmic and contrapuntal elements that are constantly transformed - at times whimsical, jazzy and be-bop-like, layered and reverberating, with lyrical resonance, pirouettes, fulcrum points and vitality. The two equally virtuosic parts, which require highly characterized dynamics and articulations, bubble forth for 8 minutes and 15 seconds, unfolding continuously developing phrases. The music is organic and, at every level, concerned with transformations and connections. Bassoon can be substituted by baritone saxophone or bass clarinet. The range of the bassoon part is C2 to E5.

Upon Wings of Words is a setting of Emily Dickinson for mezzo-soprano and string quartet. Dickinson continues to inspire composers over 130 years since her death, and here it is the tense, springy rhythms of her poems that Read Thomas responds to.

In ancient Greek mythology, the muse Terpsichore, a daughter of Zeus and Mnemosyne, is the goddess of dance and delight. With her in mind, I have sought to sculpt music that allows our individual and collective creative work to turn freely in the air. Terpsichore's Box of Dreams is by turns lively, sprightly, spry, energetic, vigorous, it is animated, traveling, flexible, versatile, changing, fluid and buoyant. While this is not exactly a "concerto for ensemble," each of the thirteen musicians is featured in several soloistic, virtuosic passages. What will pop out of Terpsichore's box next? [Augusta Read Thomas]

Nadia Anjuman (1980-2005) was an Afghan poet writing during a period of turmoil. In 1995, when the Taliban captured Herat, her birthplace, women's liberties were drastically reduced. A gifted student, Nadia faced a future with no hope of education. With other women she attended an underground educational circle called the Golden Needle Sewing School. Meeting under the guise of learning how to sew, the meetings were in fact discussions on literature with Herat professors. The project was dangerous: if caught, the punishment could be imprisonment, torture or hanging. Nadia was 21 when the Taliban was ousted. While earning her degree in literature she published her first book of poetry. She married into a family who believed that, since she was a woman, writing brought disgrace on their reputation. Yet she continued to write. At the age of 25 she was beaten to death by her husband. The five poems I chose are wide-ranging and cover extremes of emotion: from love; to delight in being a poet; to despair at her lack of freedom; and even contemplation of suicide. � Richard Blackford

The Caribbean Dance, Italian Dance, Danza Gaya and Valse francaise were all written from around 1959 onwards; the date of the Valse francaise is the most unclear, but it was not published until 1980. Shortly before Dring's death, pianists Eugene Hemmer and Leigh Kaplan suggested a disc of her two-piano works, including some of these dances. Dring wrote to Hemmer in 1976 that 'I am thrilled to think I may be put on record. It has cheered me up a lot.' She sent him the Valse francaise saying that she 'wrote it some time ago and then put it in an ivory-tower until I felt an understanding sort of person would find some use for it! So there it's been awaiting you like ye Princess.' With the Danza Gaya she included the note: 'I haven't put a metronome indication (always enough to bring me out in a rash!) - it's quite a romantic piece (surprize, surprize) - & can be played either with a slightly lazy feel or a little faster.' (The spelling and grammar is Dring's own - her spelling was atrocious, but I suspect that the misspelling of surprise here is deliberate.) Sadly Hemmer died before the disc could be made, but Kaplan did later record all four of these dances and the Tarantelle. Leah Broad 2023

Nadia Anjuman (1980-2005) was an Afghan poet writing during a period of turmoil. In 1995, when the Taliban captured Herat, her birthplace, women's liberties were drastically reduced. A gifted student, Nadia faced a future with no hope of education. With other women she attended an underground educational circle called the Golden Needle Sewing School. Meeting under the guise of learning how to sew, the meetings were in fact discussions on literature with Herat professors. The project was dangerous: if caught, the punishment could be imprisonment, torture or hanging. Nadia was 21 when the Taliban was ousted. While earning her degree in literature she published her first book of poetry. She married into a family who believed that, since she was a woman, writing brought disgrace on their reputation. Yet she continued to write. At the age of 25 she was beaten to death by her husband. The five poems I chose are wide-ranging and cover extremes of emotion: from love; to delight in being a poet; to despair at her lack of freedom; and even contemplation of suicide. � Richard Blackford

Nadia Anjuman (1980-2005) was an Afghan poet writing during a period of turmoil. In 1995, when the Taliban captured Herat, her birthplace, women's liberties were drastically reduced. A gifted student, Nadia faced a future with no hope of education. With other women she attended an underground educational circle called the Golden Needle Sewing School. Meeting under the guise of learning how to sew, the meetings were in fact discussions on literature with Herat professors. The project was dangerous: if caught, the punishment could be imprisonment, torture or hanging. Nadia was 21 when the Taliban was ousted. While earning her degree in literature she published her first book of poetry. She married into a family who believed that, since she was a woman, writing brought disgrace on their reputation. Yet she continued to write. At the age of 25 she was beaten to death by her husband. The five poems I chose are wide-ranging and cover extremes of emotion: from love; to delight in being a poet; to despair at her lack of freedom; and even contemplation of suicide. � Richard Blackford

In Buenos Aires, Tango is described as the forbidden dance and in this performance the violin and piano capture not only the sound but also the essence of Tango creating an evocative dance between the instruments. The violin has the lead melodic material and the piano has some really exciting riffs and plays the supportive role guiding their interplay. Clarissa's Tango starts with a short, cadenza-like introduction on the solo violin, the tango is cast in rondo form, with the central C section moving from the home key of D minor to D major. It's an ebullient duet that makes virtuoso demands on the solo violin, from extreme high tessitura passages and multi-stops to fast passage work as the violin elaborates on the main tango melody. [Richard Blackford]

Composing for voice is a passion for me, and as a result the largest part of my catalogue is music for voice. The human voice - possibly the most subtle, complex, and fragile yet forceful carrier of musical ideas and meanings - has always been an inspiration for my musical thinking. I strive for craft, clarity, and passion. The carefully sculpted music and poems of Far Past War develop a labyrinth of musical interrelationships and connections that showcase the choir and musicians in a virtuosic display of their emotional palette, strength, clarity, and majesty. The opportunity to collaborate with my sister, Cammy Thomas, has been a highlight of my life. Music's eternal quality is it's capacity for transformation and renewal. Together, we have created a work that celebrates the unsurpassed power of nature, and it's potential to move us toward peace.

Echo, the first of three songs, was written as a memorial to my friend Sandrey Date who died in 2020. In September 2021 I conducted it at a concert in his honour given by the Bournemouth Symphony Chorus, for which Sandrey was a Trustee and Musical Adviser for many years. It opens with a short cello prelude whose theme is developed as short commentaries between the three verses. It opens with a short cello prelude whose theme is developed as short commentaries between the three verses. The baritone melody, also derived from the cello's, rises to a passionate climax on the words "Come back in tears, O memory." The chorus takes the lead in the second verse, with the baritone commenting simply on the contemplation of Paradise. The final verse builds once more to a climax on the words "Pulse for pulse, breath for breath," before dying gently away. I wrote the second two songs at Carolyn Date's invitation and was glad of the opportunity to explore more of Christina Rossetti's spiritual poems. The second song Uphill, opens once again with the solo cello playing a descending sequence marked pesante. I loved the call-and-response structure of this poem, the chorus answering the simple questions of the traveller/pilgrim whose destination is unknown. On his final question, "Will there be beds for all who seek?" the chorus erupts in a joyful response, "Yea, beds for all who come!" and repeat the words in joyful counterpoint. A Hope Carol opens with the wordless chorus singing rhythmically, like pealing bells. The baritone's melody is less straightforward dropping from B-flat minor to A-minor in the first verse. The celebratory mood continues with the cello depicting both the sounds of angels and birds in counterpoint to the chorus. In the final verse the chorus sing the main tune, with the baritone providing a descant before coming together for the final bars. Richard Blackford, October 2023

Following a long and rich tradition of composers who wrote for percussion (Edgard Varese, Harry Partch and John Cage, Lou Harrison) over the past 30 years, Augusta has composed extensively for percussion designing works including concerto for percussion quartet and orchestra, percussion playing bells from all around the world, quartets, solos, and two octets for percussion and string quartet. Additionally, many of her 65 orchestral works feature percussion.

The main purpose of this edition is to assist those "desirous of learning" with some suggestions and information that might be helpful in the process of learning, understanding and performing the works of Bach. These suggestions should not be taken as a "must" to follow, but are simply meant to assist in the comprehension and practical execution of The Well-Tempered Clavier (WTC) and to encourage further exploration. This Edition is available in 2 Books, or as 48 separate 'Preludes and Fugues' scores.

The main purpose of this edition is to assist those "desirous of learning" with some suggestions and information that might be helpful in the process of learning, understanding and performing the works of Bach. These suggestions should not be taken as a "must" to follow, but are simply meant to assist in the comprehension and practical execution of The Well-Tempered Clavier (WTC) and to encourage further exploration. This Edition is available in 2 Books, or as 48 separate 'Preludes and Fugues' scores

Following a long and rich tradition of composers who wrote for percussion (Edgard Varese, Harry Partch and John Cage, Lou Harrison) over the past 30 years, Augusta has composed extensively for percussion designing works including concerto for percussion quartet and orchestra, percussion playing bells from all around the world, quartets, solos, and two octets for percussion and string quartet. Additionally, many of her 65 orchestral works feature percussion.

Thomas' imagination for Bebop Riddle IV - Hummingbird Jamboree was inspired by the vibrant, dazzling technique, flair, spirit for adventure, and musicality of the Akropolis Reed Quintet. When composing, playing, and hearing Bebop Riddle IV, the virtuosity, flexibility, and energy of superstar jazz artists leaps to ear and mind. These forces, when intersected with other specific musical perfumes, formulate a unique sonic palette. A working image for this composition is that of a hummingbird jamboree-animated, sprightly, energized hummingbirds zipping around in all directions. Hummingbirds hover at rapid wing-flapping rates, which are signified by the trills in the composition. Hummingbirds are the only vertebrates capable of sustained hovering and can fly backwards and upside-down, which inspired the music's whimsical and dexterous turns of flight.

Nadia Anjuman (1980-2005) was an Afghan poet writing during a period of turmoil. In 1995, when the Taliban captured Herat, her birthplace, women's liberties were drastically reduced. A gifted student, Nadia faced a future with no hope of education. With other women she attended an underground educational circle called the Golden Needle Sewing School. Meeting under the guise of learning how to sew, the meetings were in fact discussions on literature with Herat professors. The project was dangerous: if caught, the punishment could be imprisonment, torture or hanging. Nadia was 21 when the Taliban was ousted. While earning her degree in literature she published her first book of poetry. She married into a family who believed that, since she was a woman, writing brought disgrace on their reputation. Yet she continued to write. At the age of 25 she was beaten to death by her husband. The five poems I chose are wide-ranging and cover extremes of emotion: from love; to delight in being a poet; to despair at her lack of freedom; and even contemplation of suicide. � Richard Blackford

Upon Wings of Words is a setting of Emily Dickinson for mezzo-soprano and string quartet. Dickinson continues to inspire composers over 130 years since her death, and here it is the tense, springy rhythms of her poems that Read Thomas responds to.

Nadia Anjuman (1980-2005) was an Afghan poet writing during a period of turmoil. In 1995, when the Taliban captured Herat, her birthplace, women's liberties were drastically reduced. A gifted student, Nadia faced a future with no hope of education. With other women she attended an underground educational circle called the Golden Needle Sewing School. Meeting under the guise of learning how to sew, the meetings were in fact discussions on literature with Herat professors. The project was dangerous: if caught, the punishment could be imprisonment, torture or hanging. Nadia was 21 when the Taliban was ousted. While earning her degree in literature she published her first book of poetry. She married into a family who believed that, since she was a woman, writing brought disgrace on their reputation. Yet she continued to write. At the age of 25 she was beaten to death by her husband. The five poems I chose are wide-ranging and cover extremes of emotion: from love; to delight in being a poet; to despair at her lack of freedom; and even contemplation of suicide. � Richard Blackford

Antoni Gaud�'s monumental temple La Sagrada Familia is a universe within a building. It's mass of stone and metal is bathed in coloured light diffused from dazzling stained-glass windows. The colossal structure is supported by great pillars inspired by the shapes of tree trunks that reinforce the impression of a spiritual forest. Around the main access points to the basilica are three great facades: Nativity, Passion and Glory. Each is a visual world unto itself, stylistically apart yet united by Gaud�'s grandiose vision. These three facades are the inspiration of my three-movement A Gaud� Symphony, a sequence of narratives. The visual journey, from the representational to the abstract, is something I also tried to mirror in the music. When I visited La Sagrada Familia in October 2019 there was still scaffolding to support the work on the remaining towers. Whereas A Gaud� Symphony is inspired by that unique building, I hope that my musical structure can stand alone as an homage to Gaud� in it's own right. - Richard Blackford

In Buenos Aires, Tango is described as the forbidden dance and in this performance the violin and piano capture not only the sound but also the essence of Tango creating an evocative dance between the instruments. The violin has the lead melodic material and the piano has some really exciting riffs and plays the supportive role guiding their interplay. Clarissa's Tango starts with a short, cadenza-like introduction on the solo violin, the tango is cast in rondo form, with the central C section moving from the home key of D minor to D major. It's an ebullient duet that makes virtuoso demands on the solo violin, from extreme high tessitura passages and multi-stops to fast passage work as the violin elaborates on the main tango melody. [Richard Blackford]

Following a long and rich tradition of composers who wrote for percussion (Edgard Varese, Harry Partch and John Cage, Lou Harrison) over the past 30 years, Augusta has composed extensively for percussion designing works including concerto for percussion quartet and orchestra, percussion playing bells from all around the world, quartets, solos, and two octets for percussion and string quartet. Additionally, many of her 65 orchestral works feature percussion.