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

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

Antoni Gaudi'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 Gaudi's grandiose vision. These three facades are the inspiration of my three-movement A Gaudi 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 Gaudi Symphony is inspired by that unique building, I hope that my musical structure can stand alone as an homage to Gaudi in it's own right. � Richard Blackford

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

Though some of Rebecca Clarke's most successful pieces feature the piano, such as her Viola Sonata (1919), Rhapsody for Cello (1923), and Piano Trio (1921) and her writing for the instrument in those scores is both idiomatic and inventive, she only wrote a handful of solo piano pieces, all present in this publication. Clarke's Theme and Variations (1908) is her most extended piano work. The piece dates from the time of her studies with Charles Villiers Stanford at the Royal College of Music, and it won her a Council Exhibition, a cash prize covering half her fees for the year. Rebecca Clarke's natural melodic gifts are already in evidence throughout this score, which is enlivened by wit and charm and graced with an inner strength and poise. Rebecca Clarke met the composer William Busch at various musical and social events from 1927 to 1937. On 13 July 1932, he mentions in his diary trying out a piece by Clarke and receiving 'good advice from Rebecca over her piece'. The piece, which Busch was premiering, was a short work entitled Cort�ge that Clarke had written for Busch in 1930. The constantly shifting chords create a gently exotic, Impressionistic atmosphere. During her marriage, from September 1944, to the American pianist and composer James Friskin, Clarke wrote only one original composition, the song, God made a Tree, to a text by the violinist Katharine Kendall, and two arrangements. One of these 'He Hath filled the Hungry', is a near-literal transcription for solo piano of the aria 'Esurientes implevit bonis' from Johann Sebastian Bach's Magnificat, BWV 243. Though the score does not bear a date, it is believed to date from the mid-1950s. The work is characteristically grateful to play, the flowing lines falling easily under the fingers. (Paul Conway)

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

Cecil Armstrong Gibbs (he disliked the name Cecil so was known as Armstrong) was a prolific and versatile composer of the first half of the twentieth century. He studied under Sir Adrian Boult and Ralph Vaughan Williams. His contemporaries were Herbert Howells, Sir Arthur Bliss and Sir Arnold Bax. Known principally for his solo songs Gibbs also wrote music for the stage, sacred works, three symphonies and a substantial amount of chamber music. He gained wide recognition during the early part of his life. He continued to compose and conduct up until his death in May 1960. He is buried with his wife Honor in Danbury churchyard. Putting this project together we were surprised by both the quantity and consistent quality of Gibbs' output. The popular songs fully deserve their treasured position, but now we could easily match them with a new selection - To Anise, The Cherry Tree, On Duncton Hill, The Tiger-Lily, Midnight, Slow Horses Slow, The Exile and Take Heed Young Heart might be concert winners given a chance. In them we find the same simplicity and sensitivity to text. It has been remarked more than once that performers will find the best songs among the settings of de la Mare, this rather easy simplification holds less well when, as in this collection, we can assess Armstrong Gibbs output in a more complete form.

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.

Among his many compositions, Kenneth V. Jones wrote a concerto for string orchestra (1956), a concerto for oboe and strings (1963), The Pollock, an orchestral prelude (1963), O Light Invisible, a cantata for soprano, mixed chorus and orchestra (1963), a sonata for solo violin (1967), Dialysis, for violin and harpsichord (1973), Quaquaverse, for saxophone quartet (1979), Paean for organ (1983), three Sinfonias for orchestra, as well as piano works, song cycles, film, play and television scores and church music, including hymns and anthems. Quinquifid for Brass Quintet (1980) was written for Equale Brass, who premiered the piece in the Purcell Room on 6 December 1980. Quinquifid was first broadcast by the BBC on Radio 3 on 30 December 1981. The structure of this work is built on a notion of five sections, each linked without a break by cadenzas for each of the solo instruments. The opening movement begins with an Andante introduction flecked by flutter-tongued trumpet and moves into a more urgent Allegro section that exploits the lyrical qualities of the tuba to expressive effect. Gradually the music intensifies, building to a powerful climax, before falling away abruptly, paving the way for the next section, a brief duet for the two trumpets, marked 'Shadow Play' in the score. Light and lively, the finale offers flowing interplay between the instruments and brings the score to a confident conclusion.

Among his many compositions, Kenneth V. Jones wrote a concerto for string orchestra (1956), a concerto for oboe and strings (1963), The Pollock, an orchestral prelude (1963), O Light Invisible, a cantata for soprano, mixed chorus and orchestra (1963), a sonata for solo violin (1967), Dialysis, for violin and harpsichord (1973), Quaquaverse, for saxophone quartet (1979), Paean for organ (1983), three Sinfonias for orchestra, as well as piano works, song cycles, film, play and television scores and church music, including hymns and anthems. The Quintet for Piano and String Quartet, Op.26 (1967) is a compact, finely balanced score in which the keyboard is in constant, purposeful dialogue with the strings and no single player is allowed to dominate the textures for too long. The resolute opening Allegro contains a couple of ear-catching passages where string phrases are repeated hypnotically, but for the most part, this is a vibrant, forthright movement, driven by the composer's characteristically punchy syncopated rhythms. The central Adagio brings a more expansive tempo, while maintaining an intensity of mood established by the opening movement. The outer sections are presided over by a tenacious, repeated-note figure first heard on the viola at the outset, while the central episode is more diverse and adventurous in spirit. The vigorous, lilting Allegro finale revisits material from the previous movements and rounds off the piece in exuberant style.

Among his many compositions, Kenneth V. Jones wrote a concerto for string orchestra (1956), a concerto for oboe and strings (1963), The Pollock, an orchestral prelude (1963), O Light Invisible, a cantata for soprano, mixed chorus and orchestra (1963), a sonata for solo violin (1967), Dialysis, for violin and harpsichord (1973), Quaquaverse, for saxophone quartet (1979), Paean for organ (1983), three Sinfonias for orchestra, as well as piano works, song cycles, film, play and television scores and church music, including hymns and anthems. The Piano Sonata, Op. 4 (1950) is a concise, sharply defined score, written while the composer was still a student at the Royal College of Music. The opening Allegro moderato begins without preamble, presenting the movement's principal, upward lyrising idea at the outset. Some of the sonata's main ideas are also exploited in the lively, dance-like 'Rondo Burlesca' that taps into a vein of extrovert eccentricity, not unlike Dukas's The Sorcerer's Apprentice, or 'Uranus the Magician' from Holst's orchestral suite, The Planets. Near the end of this rumbustious finale, Jones broadens the tempo to reveal hitherto unsuspected lyrical qualities in the material before the exuberant, gawky dance prevails again.

Among his many compositions, Kenneth V. Jones wrote a concerto for string orchestra (1956), a concerto for oboe and strings (1963), The Pollock, an orchestral prelude (1963), O Light Invisible, a cantata for soprano, mixed chorus and orchestra (1963), a sonata for solo violin (1967), Dialysis, for violin and harpsichord (1973), Quaquaverse, for saxophone quartet (1979), Paean for organ (1983), three Sinfonias for orchestra, as well as piano works, song cycles, film, play and television scores and church music, including hymns and anthems. The String Quartet No. 1, Op. 6 (1950) is cast in one unbroken movement consisting of two clear sections. In the short opening Lento espressivo, an eloquent, sinuous theme is introduced by the first violin and then taken up the viola. Gradually the tempo increases, heralding the arrival of the main Allegro moderato, closely argued and driven by an unflagging rhythmic energy. Commenting on this piece, Jones asserted that the 'acerbic, gritty character of the music' is in 'direct contrast' to the pre-Second World War 'English pastoral style'. Nevertheless, there is, to these ears at least, a certain folk-like quality to the writing, not least in it's punchy syncopations, that roots the score in a distinctly British landscape.

Among his many compositions, Kenneth V. Jones wrote a concerto for string orchestra (1956), a concerto for oboe and strings (1963), The Pollock, an orchestral prelude (1963), O Light Invisible, a cantata for soprano, mixed chorus and orchestra (1963), a sonata for solo violin (1967), Dialysis, for violin and harpsichord (1973), Quaquaverse, for saxophone quartet (1979), Paean for organ (1983), three Sinfonias for orchestra, as well as piano works, song cycles, film, play and television scores and church music, including hymns and anthems. Commissioned by UNESCO, the Wind Quintet No. 2, Op. 2 (1952) begins with an assertive Lento movement that commands the listener's attention with it's flourishes and fanfare-like gestures. The ensuing Vigoroso is breezy and relaxed, allowing each player a chance to take centre-stage during it's crisp, clipped progress. The following, moderately slow, movement has an almost liquid fluency, while the Giocoso finale exudes an airy and insouciant elegance, the players' imminent departure judiciously signalled by a couple of whooping horn calls.

Conceived on a grand scale, Lloyd's late choral works build fruitfully upon his previous experience in other genres. They share with his operas an innate lyricism, natural affinity with the human voice and feeling for the long line, while their structural balance, intensive working out of motifs and rich orchestral palette owes a significant debt to his prolific symphonic output.

Conceived on a grand scale, Lloyd's late choral works build fruitfully upon his previous experience in other genres. They share with his operas an innate lyricism, natural affinity with the human voice and feeling for the long line, while their structural balance, intensive working out of motifs and rich orchestral palette owes a significant debt to his prolific symphonic output.

Conceived on a grand scale, Lloyd's late choral works build fruitfully upon his previous experience in other genres. They share with his operas an innate lyricism, natural affinity with the human voice and feeling for the long line, while their structural balance, intensive working out of motifs and rich orchestral palette owes a significant debt to his prolific symphonic output.

Conceived on a grand scale, Lloyd's late choral works build fruitfully upon his previous experience in other genres. They share with his operas an innate lyricism, natural affinity with the human voice and feeling for the long line, while their structural balance, intensive working out of motifs and rich orchestral palette owes a significant debt to his prolific symphonic output.

Because George Lloyd's personal attention is a dominating influence on the scores and recordings - which he mostly conducted himself - we have decided to headline this representation the 'Signature Collection'. Scores will be cleaned, and new orchestral parts created, recordings will be reorganised into affordable sets with new notes commissioned from Paul Conway. All digital platforms will have access to a unified and comprehensive offering from a single source.

Conceived on a grand scale, Lloyd's late choral works build fruitfully upon his previous experience in other genres. They share with his operas an innate lyricism, natural affinity with the human voice and feeling for the long line, while their structural balance, intensive working out of motifs and rich orchestral palette owes a significant debt to his prolific symphonic output.

Because George Lloyd's personal attention is a dominating influence on the scores and recordings - which he mostly conducted himself - we have decided to headline this representation the 'Signature Collection'. Scores will be cleaned, and new orchestral parts created, recordings will be reorganised into affordable sets with new notes commissioned from Paul Conway. All digital platforms will have access to a unified and comprehensive offering from a single source.

Conceived on a grand scale, Lloyd's late choral works build fruitfully upon his previous experience in other genres. They share with his operas an innate lyricism, natural affinity with the human voice and feeling for the long line, while their structural balance, intensive working out of motifs and rich orchestral palette owes a significant debt to his prolific symphonic output. Lloyd's compact and cogent setting of Psalm 130 constitutes, arguably, his most fluently effective use of a cappella choral writing.

Conceived on a grand scale, Lloyd's late choral works build fruitfully upon his previous experience in other genres. They share with his operas an innate lyricism, natural affinity with the human voice and feeling for the long line, while their structural balance, intensive working out of motifs and rich orchestral palette owes a significant debt to his prolific symphonic output. Lloyd produced the final score of his Requiem a month before his death. It is inscribed 'to the memory of Diana Princess of Wales'. Compassionate, reassuring and even, at times, joyful, this is a conscious leave-taking on the part of the composer.

Because George Lloyd's personal attention is a dominating influence on the scores and recordings - which he mostly conducted himself - we have decided to headline this representation the 'Signature Collection'. Scores will be cleaned, and new orchestral parts created, recordings will be reorganised into affordable sets with new notes commissioned from Paul Conway. All digital platforms will have access to a unified and comprehensive offering from a single source.