This album presents trio works by women composers of multiple generations; five of them living British composers, and one notable American. Programmed by the Marsyas Trio, the release marks the 100th anniversary of (some) women getting the vote in the UK, and celebrates the diversity of compositional style, the wealth of talent, and accomplishments of living British women composers today.
The album includes five premiere recordings: Judith Weir's Several Concertos (1980), Thea Musgrave's Canta, Canta!, and recently commissioned works for the trio by Hilary Tann and the two youngest composers on this album: Georgia Rodgers (b. 1985) and Laura Bowler (b. 1986).
With special thanks to the Britten-Pears Foundation for supporting the commission of Laura Bowler's Salutem, to the Fidelio Charitable Trust, and the RVW Trust for supporting the commission of Hillary Tann's In The Theatre of Air and to the Kickstarter Supporters who funded the commission of Georgia Rodgers' York Minster.
The Marsyas Trio is especially grateful to Sandra Akerman, Patrick Dawkins, Richard Lee, and everyone else who generously contributed to their crowdfunding campaign for making this album possible.
The Marsyas Trio would also like to thank Royal Holloway University for the generous use of their premises for recording sessions (all tracks except Amy Beach); and City University for the generous use of premises for the Amy Beach sessions. These recordings were made using a c.1740 G.F. Celoniatus cello generously on loan from the Royal Academy of Music, London.
All tracks except tracks 12-13 were recorded at Boilerhouse, Royal Holloway University of London on 13-15 April 2018
Tracks 12-13 were recorded at City University on 19 April 2018
OLAF MIELKE (MBM Musikproduktion) Recording Engineer
MORITZ BERGFIELD (MBM Musikproduktion) Recording Producer
Catalogue number: NMC D248
Release Date: 19 October 2018
"The opener, Musgrave’s Canta, Canta!, beguiles with its hint of Beethoven’s Für Elise; Judith Weir’s Several Concertos are witty condensations; and Hilary Tann’s title piece deftly evokes not birdsong but bird movement." Paul Driver, Sunday Times “The Week’s Essential New Releases” (28 October 2018)