My new album, ‘Caprice Brillant’ comprises a study of caprices, both well-known and unfamiliar, by Bach, Beethoven, Mendelssohn, Jaëll, Liszt, Moszkowski, Clementi, Kapustin and Godowsky. The inspiration to build a collection of caprices grew out of one particular piece of

Hot off the heels of the release of their latest album Stabat, I chat to Graham Ross, Director of Music at Clare College, Cambridge about their newest release, featuring the music of Arvo Pärt alongside works by Pēteris Vasks and

With the coronavirus and the attendant need for social distancing likely to last for months, many teachers have moved online in order to continue teaching, using applications such as Zoom, Skype and Facetime. This has forced a rapid embrace and

When I was planning the programme for my final performance diploma, I needed a short introductory piece that would either contrast with or complement the main work in the programme, Schubert’s monumental Sonata in A, D959. I was keen to

All kinds of Beethoven’s music have been used in films – nothing quite says culture like our heroine sitting down at the piano and rippling a few tender tunes with her delicate fingers. The familiar sound of the Bagatelle No.

A patron — in French mécène, from Gaius Mæcenas, first Roman ”patron of arts” — supports artists by providing them with financial, promotional or material contributions (that sometimes extends to a place to work and/or live), and through commissioning them

It seems as if almost our entire world has moved online in response to the coronavirus. “Online” is our means to work and to play, and musicians have embraced it fully, from livestreamed concerts from their living rooms to ensemble

What on earth is mood music? As a composer, I write music to offer or extract a certain feeling from a listener, but do I intentionally create music to suit a mood or a place? Not that I’m aware of.