Richard Barnard ‘Neanderthal Ballads’ September Premiere & Tour with...

Stephen Roberts ‘The Other Side of Silence’ Première with...

26 August 2021 Comments Off on September 2021 New Release Round-Up Views: 1214 CE News

September 2021 New Release Round-Up

A stravaganza of major piano work releases in September from Gustavo Díaz-Jerez, Graham Lynch and Richard Barnard.

Also orchestral, chamber, solo flute, solo accordion, clarinet and electronics, and voice works by Colin Riley, Gordon Crosse, Graham Lynch, Joe Cutler, Jeremy Pike, Larry Goves, Naresh Sohal, Susannah Self, and Terence Allbright.

Also available as a PDF and an MS Excel Spreadsheet.

Colin Riley

Earth Voices

for orchestra

First performance tbc the Helsingborg Symphony Orchestra, Sweden.

Commissioned by the Helsingborg Symphony Orchestra with support from the Swedish Arts Council.



concerto for violin and orchestra

First performance September 2021, Ely Cathedral, Cambridgeshire – Philippa Mo and the Ely Sinfonia conducted by Steve Bingham.

Commissioned by the Ely Sinfonia.


Gordon Crosse


Elegy No.5 for small orchestra


Gustavo Díaz-Jerez

Metaludios (Book IV)

for piano solo

The Metaludios are relatively short works grouped in books of six pieces.

These two new books of metaludios (books IV & V), which continue the three already recorded on a CD released in 2018, explore new sound territories through the piano.

‘As usual in my compositional language, I combine scientific and mathematical elements with musical trends towards which I feel special affinity. The former includes the use of fractals, number theory, cellular automata, analysis of the harmonic spectrum, psychoacoustics, etc’.

First performed at Conservatorio Superior de Badajoz, Spain, May 2018 by Gustavo Díaz-Jerez (piano).


Metaludios (Book V)

for piano solo

These two new books of metaludios (books IV & V), which continue the three already recorded on a CD released in 2018, explore new sound territories through the piano. Science is once again the main pillar underlying the compositional process of these twelve new pieces.

‘I believe that we can embrace without prejudice the artistic material of the past—the familiar, the known—and merge it with the technological tools at our disposal. It is not about breaking or denying tradition, but about extending and expanding the sound possibilities of the instrument in order to discover new piano landscapes’.

First performed at Conservatorio Superior de Badajoz, Spain, May 2018 by Gustavo Díaz-Jerez (piano).


Graham Lynch

Absolute Inwardness

for piano

Absolute Inwardness was Hegel’s definition of the true content of Romanticism (‘infinite subjectivity’). This piece draws on elements of late romantic style, and fragments them until the work disintegrates into a constellation of ideas that look inwards. There are echoes of chorales, of late Brahms, and at the end the piece dissolves into a chord that covers the entire range of the piano. This work is something of a companion piece to The Couperin Sketchbooks, being its opposite in many respects.


Dark Sonata

for two guitars

Dark Sonata was written for the Helsinki Guitar Duo – Rody van Gemert and Jose Casallas. The piece is in three movements: In Shadows, Interlude, Night. The first movement is full of many contrasting sections and uses delicate colours from the guitars to shape a mosaic of sounds. The middle movement is lighter in mood and brisk in tempo, with a more lyrical central section. In the final movement the music takes a darker turn and gradually winds itself up into a series of intense chords that punctuate long silences. In writing the piece I wanted to move away from a lot of traditional guitar repertoire to create a substantial work that places considerable demands on the players and is a gradual journey into darkness for the listener.



for piano

Sideshow is a set of seven short pieces that flow together to make a continuous work. The initial inspiration for the music came from the circus drawings of Seurat, but in the end the pieces developed independent characteristics that draw on many sources, from Baudelaire, Cocteau and Pessoa, through to late 19th century German music. The titles of each section are – Prelude, The Ballad of London Fields, Bricolage, The Old Acrobat, Langsam, Cock and Harlequin, Spiritualised in Night.


Serenata Notturna (version for five guitars)

for five guitars

Serenata Notturna was commissioned by the Avonia Institute in Finland for their guitar orchestra, and first performed in Turku in 2018. This arrangement for five guitars was made by Rody van Gemert and Jose Casallas.

The three movements of the Serenata Notturna are similar to Mozart’s piece of the same name – a March, a Waltz (Mozart’s was a Minuet), and a Rondo. Each movement having its own distinctive character and mood.

There was an interesting request in the commission that had a pedagogical slant. I was asked that each movement would explore specific intervals so that the children would not only have the benefit of learning a new piece but it would also contribute to ear training. For this reason each movement has a subtitle that pairs related intervals; for example, the first movement is 2nds and 7ths. In each movement the main theme is built from the intervals in a melodic relationship, but then subsidiary material uses the intervals harmonically.


White Book 3

for piano

White Book 3 was written for Paul Sánchez, and it’s unified by the work of the artist Christopher le Brun, whose paintings and woodcuts have inspired these five pieces.

A recording of this work is available on Divine Art (DDA 25221).


Joe Cutler

Overture for Louis

for solo flute

In memory of Louis Andriessen.

Overture for Louis is one of a collection of 200 solo pieces commissioned to celebrate the bi-centenary of The Royal Academy of Music in 2022.


Jeremy Pike

Turning Tables

for viola and harp

The title refers to several concepts. Ideas are evolved in a manner often used by Sibelius, so the fragmentary motives in the opening gradually turn into the principal melodic idea heard in bar 116. Secondly the roles of viola and harp are constantly reversed, as if one instrument turns the tables on the other, and in addition the entire work is built on a sequence of notes derived from changing the harp pedal settings string by string in a constantly rotating table of pitches.


Larry Goves

Gennel/Ginnel/Guinnel and Love

for low female voice and small ensemble

Commissioned by the London Sinfonietta for a first performance at King’s Place on 23 June 2021 as part of Notes about Now in
partnership with Poet in the City with Camille Maalawy (voice) and Gerry Cornelius (conductor).


Music inspired by the opening of Siouxsie and the Banshees’ Suburban Relapse played with little regard for coordination or tuning

Music inspired by the opening of Siouxsie and the Banshees’ Suburban Relapse played with little regard for coordination or tuning


Nehmiah 2

for alto flute, alto saxophone, cello and soundtrack


Occhi io vissi di voi 2

for viola, alto flute and cello


Naresh Sohal


for flute and harp

Adapted from Air section of Lila for Susan Milan.


Shades VII

for solo accordion

Written for Ksenia Sidorova. Premiered by Inigo Mikeleiz Berrade, 23rd July 2016, Royal Academy of Music, London.



for violin, violoncello and piano

Commissioned jointly by the Guadagnini Piano Trio and Hinckley Music Club. First performance 17th March 1989, Guadagnini Piano Trio, Hinckley Music Club, Leicester.


Richard Barnard

Neanderthal Ballads

for piano

I. Hand spirits
II. Child’s game
III. Hearth communion
IV. The path through the forest to the edge of the sea
V. Feathered dance
VI. What they dreamed of when they dreamed of us

This is a set of pieces for piano inspired by descriptions and discoveries of Neanderthal culture. It was commissioned by and written for Clare Hammond with support from the John S Cohen Foundation, Hinrichsen Foundation and RVW Trust.


Susannah Self


for clarinet in Bb and electronic soundscape

Commissioned by the New Wind Festival 2021 for Philip Edwards.


Terence Allbright

Two Interludes

for flute, viola and piano

In Interlude 1 (composed in 2018) each instrument describes its own trajectory across the space. A mosaic of melodic fragments on the flute is accompanied by the viola’s continuously ticking rhythm and the piano’s flowing arabesques. Interlude 2 (2021) begins like a Baroque trio sonata with duetting counterpoint, an independent bass, and with chords at the centre of the texture; then the music fades away in a calm passage of wide harmonies sustained by trills.

Interlude No 2 was first performed by The Duruflé Trio – Rosie Bowker flute, Henrietta Hill viola and Clare Simmonds piano – at a New Music Brighton concert on 17th June 2018 at St Luke’s Church, Brighton.


Two Songs

for baritone or mezzo-soprano and piano

First performed by Stephen Roberts with Terence Allbright at the Petworth Festival, 24th July 2001 in St Mary’s Church, Petworth.

Poems by Stevie Smith reproduced by permission of the Executors of James MacGibbon.


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