Erik Chisholm – Music for Piano, Volume 4
Erik Chisholm is not a well-known name but is one of the most important British composers of recent years, with a very large output of music in several genres. Much of his music is based on Scottish tunes, such as the Piobaireachd (bagpipe airs) which appear throughout his piano works. The acclaimed pianist Murray McLachlan has recorded the majority of his solo piano output for a total of 7 CDs all at mid-price.
Track Listing
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Erik Chisholm:
- I. Piobaireachd - no. 5 the Glen is Mine (5:33)
- II. Piobaireachd - no. 6 Lord Lovat's Lament (2:16)
- III. Piobaireachd - Salute for Mackenzie of Applecross (1:52)
- IV. Piobaireachd - no. 8 Maclean of Coll putting his Foot on the Neck of his Enemy (1:05)
- V. Piobaireachd - no. 10 The MacGregor's Salute - Theme (0:47)
- VI. Piobaireachd - no. 10 The Macgregor's Salute - Variation 1 (0:35)
- VII. Piobaireachd - no. 10 The Macgregor's Salute - Variation 2 (0:15)
- VIII. Piobaireachd - no. 10 The MacGregor's Salute - Variation 3 (0:17)
- IX. Piobaireachd - no. 10 The MacGregor's Salute - Variation 4 (0:32)
- X. Piobaireachd - no. 10 The MaGregor's Salute - Variation 5 (1:52)
- XI. Piobaireachd - No. 11 The Highland Society of Scotland's Salute (1:29)
- XII. Piobaireachd - no. 12 Patrick og MacCrimmon's Lament (2:41)
- XIII. Piobaireachd - no. 13 Lament for King James (2:21)
- I. Sonatina no. 3 - 1. Prelude (1:48)
- II. Sonatina no. 3 - 2. Adagio (2:34)
- III. Sonatina no. 3 - 3. Ricercar I (0:54)
- IV. Sonatina no. 3 - 4. Ricercar II (2:33)
- I. Cameos - A jewel from the Sidereal Casket (2:18)
- II. Cameos - The Mirror (1:51)
- III. Cameos - The Witch-Hare (0:37)
- IV. Cameos - The Companion to Sirius (2:30)
- V. Cameos - The Rolling Stone (0:40)
- VI. Cameos - The Procession of Crabs2 (2:14)
- VII. Cameos - The Sweating Infantry (1:11)
- VIII. Cameos - Happiness (0:56)
- I. Highland Sketches - no. 1 (0:35)
- II. Highland Sketches - no. 2 (1:45)
- III. Highland Sketches - no. 3 (1:13)
- IV. Highland Sketches - no. 4 (1:09)
- V. Highland Sketches - no. 5 (1:23)
- VI. Highland Sketches - no. 6 (1:27)
- I. Portraits - Epitaphe (4:03)
- II. Portraits - Melodie Chiaroscura (6:34)
- III. Portraits - Porgy (2:45)
- IV. Portraits - Agnes and the Maultasch (4:33)
- V. Portraits - Suss communes with Malmi (3:53)
- VI. Portraits - A Portrait of a Fashionable Gentlewoman (5:03)
Reviews
“These four CDs… already provide evidence of one of the most important oeuvres for the instrument of any British composer. McLachlan’s achievement in presenting this huge and hugely neglected body of piano music deserves enormous praise
” —Martin Anderson
“I can hardly imagine anyone wanting just a single volume of this collection of piano music; this is possibly one of the most important single contributions to British piano music alongside that of Bax, Ireland, Sorabji, Hoddinott and Cyril Scott.. [The Sonata] is an undoubted masterpiece. Murray McLachlan has made an important contribution to the literature of British piano music. Moreover, McLachlan has been well served by the fine recording.. the learned programme notes are a joy to read. I look forward to hearing the subsequent Cds in this eye-opening cycle with great anticipation and enthusiasm. It is one of the musical discoveries and revelations of the twenty-first century.
” —John France
“My regard for Chisholm grows with each new recording of his music. Every piece is strongly characterised and his musical language(s) are widely derived and have a feeling of original thinking. This newest attempt to bring Chisholm out of the shadows ought to succeed; a composer well worth exploring.
” —Peter Grahame Woolf
“[Chisholm] is capable of writing with succinct economy and yet there are always surprising twists of harmony and rhythm that avoid the commonplace. Throughout this disc Murray McLachlan once again shows his dedication to the Chisholm cause. I hope other pianists will be inspired by him and play Chisholm’s music; some of it ought to find a place in the repertoire. At his best Chisholm’s piano music can hold its own among that of the first half of the twentieth century. It simply demands to be heard.
” —David Hackbridge Johnson
