<<  -- 2 --  Patric Standford    SONIC EMBROIDERY

The other two substantial pieces are from the same period, yet show a very different side of Emsley's musical imagination, though it is clearly the same composer at work. Helter-Skelter is for flute, piano and vibraphone and is a quiet, highly elaborate texture, weaving together the three independent instrumental parts [listen -- track 1, 0:04-0:58].

This style of pianistic patterning is persued to contrasting ends in the shorter pieces Flow Form and for piano 3, two pieces separated by ten years and both included here.

The other major piece is ... from swerve of shore to bend of bay ..., written in 1985 for flute, clarinets (Guy Cowley), percussion, piano, viola (Bridget Carey) and cello (Betsey Taylor) -- another timeless though this time restful piece made up of gentle waves of sound [listen -- track 4, 1:01-1:59].

There are three other equally fascinating shorter pieces: for piano 2 and finissys fifty both played affectionately by Ian Pace, and for guitar 1 played by Alan Thomas.

This is an attractive Emsley collection that provides a more or less complete portrait of the composer's identity. It is intriguing enough to keep the listener alert and surprised by the technical wizardry of composer and performers. It is also a gentle sonic embroidery that could invoke delicious sleep!

For help listening to the sound extracts here, please refer to our questions & answers page.