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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

From the artists: "Our objective in creating this new arrangement was to remain as faithful to the original as practically possible. We set out to embrace not only the capabilities of the two pianos but also their limitations - we wanted to create a true piano work, rather than a less-than-satisfactory imitation of the orchestral version. We first performed our arrangement at St John's Smith Square in London in 2017 and for the next five years we worked to refine the textures and to create something comfortably pianistic while incorporating as much of Rachmaninoff's intention as is feasible. We sought inspiration from the composers own arrangement of the Symphonic Dances Op.45, from his two Suites for two pianos Opp.5 and 17, and from his four-hands version of The Rock Op.7. We hope that our arrangement will be enjoyable to all pianists who have a love for Rachmaninoff's music. The much-loved Adagio will serve as a great challenge for musicians of diploma level, while anyone who has enjoyed performing the Suites will surely enjoy this new challenge."

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.

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.

Native American tradition attaches special meaning to dreams. One tradition was to hang a 'dream catcher' that would move freely in the night air. The hand-crafted object consists of a web within a ring, with feathers extended from the perimeter of the ring. According to tradition, good dreams know their destination: they slip through the hole in the center of the web and glide gently down the feather into the subconscious of the dreamer. Bad dreams become entangled in the web and dissipate with the light of the dawn. Although highly notated, precise, carefully structured, soundly proportioned, and while musicians are elegantly working from a nuanced, specific text, I like my music to have the feeling that it is organically being self-propelled - on the spot. As if we listeners are overhearing a captured improvisation. My music, which is organic and, at every level, concerned with transformations and connections, should be played so that the inner life of the different rhythmic, timbral and pitch syntaxes are made explicit and are then organically allied to one another with characterized phrasing of rhythm, color, harmony, counterpoint, tempo, keeping it alive - continuously sounding spontaneous. All of this, hopefully, working toward the fundamental goal: to compose a work in which every musical parameter is allied in one holistic gestalt. Dream Catcher for solo cello is dedicated with admiration and gratitude to Anssi Karttunen and is In Memoriam Oliver Knussen.

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.

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]