SKU: HL.14042802

These short pieces are inspired by the extraordinary piano music of the little known Yorkshire composer William Baines. Baines died in 1922 at the age of 23 but left behind a substantial catalogue of over 150 works. Likened to that of Scriabin, Baines’ piano music is sensuous, highly coloured and quite unlike anything being written by his British contemporaries.  Shadows (Volume I)  are reflections on episodes from Baines’ life and diary entries, each piece incorporating a chord, a gesture or a figuration from one of Baines’ solo piano works. It was particularly fitting that the set received its premiere in Yorkshire inthe fabulous surroundings of Ripon Cathedral. 

These short pieces are inspired by the extraordinary piano music of the little known Yorkshire composer William Baines. Baines died in 1922 at the age of 23 but left behind a substantial catalogue of over 150 works. Likened to that of Scriabin, Baines’ piano music is sensuous, highly coloured and quite unlike anything being written by his British contemporaries. Shadows (Volume I) are reflections on episodes from Baines’ life and diary entries, each piece incorporating a chord, a gesture or a figuration from one of Baines’ solo piano works. It was particularly fitting that the set received its premiere inYorkshire in the fabulous surroundings of Ripon Cathedral. 

SKU: HH.HH052-KBD

ISBN 9790708041023.

This critical edition sheds light on the special qualities linking RV 198 (here published for the first time) to the musicians of the Saxon court, and offers the first detailed comparison between two versions of the concerto. Passages of brilliant figuration and finely spun diminutions characterize the solo episodes in the fast movements. An alternative Adagio is included in each of the various formats (scores, keyboard reduction and parts).

SKU: PR.110418500

ISBN 9781491137277. UPC: 680160690039.

DUNHUANG FANTASIA is a fascinating 12-minute drama inspired by art from grottoes in the ancient town of Dunhuang in western China. These frescoes preserve images of music and dance scenes, including the postures and attitudes of performers, and of the musical instruments used. Zhou Long’s music begins with a mysterious introduction driven by drum-like textures, followed by a series of episodes, enhanced by captions of the artwork inspiring each section and evocations of the ancient musical instruments.
Commissioned and with fingering by Zou Xiang, Dunhuang Fantasia was composed in the fall of 2017. The music was inspired by the art of the Mogaoku grottoes in the ancient town of Dunhuang in western China. The frescoes of the Dunhuang grottos preserve a number of music and dance performance scenes, including images of the postures and attitudes of performers, and of a number of musical instrument types are used.The most popular form of music indigenous to this region is the huar, a folk-song type current among a number of nationalities. The huar is actually a kind of mountain song. Along with huar, Dunhuang pipa qupu (Dunhuang pipa notation) is also an inspiration for elements in this music.The music begins in adagio as a mysterious introduction. The drum-like rhythm patterns beating in the lowest region of the piano, with a muted-string sonority, creates an expanded space to enhance the echoes from the grottos. This is soon followed by the first main section, Cup of Happiness, featuring the huar and Dunhuang pipa melodies along with the dance rhythm. In the next section, Water Drum, the music becomes medium tempo. In the section Dialogue in Presto, the music becomes more active and contrapuntal. The section Tune: Changsha Girl is in a faster tempo as a dance scene. The Coda starts with dense rhythms, and tension is gradually intensified to reach a climax, culminating in a return of the opening section.