Classical Explorations — July 2025

Rebecca Dale
There Will Come
Sara Teasdale’s war poem There Will Come Soft Rains paints a vivid picture of the natural world’s beauty, carrying a poignant message: nature will persist, indifferent and untroubled, even if humanity vanishes in the aftermath of war. Inspired by this theme of loss and resilience, Rebecca Dale’s evocative composition captures the essence of Teasdale’s poem with emotional depth. Commissioned by the Philharmonia Orchestra for their Human/Nature series, this recording is lush, seamless, and profoundly moving. Steven Isserlis delivers the solo line with heartfelt expression, skilfully engaging in dialogue with the ensemble. Released only in March this year, it’s impressive to see the piece already amassing over two million streams on Spotify alone.

Carl Vollrath
Fantasy for Piano & Orchestra
American composer Vollrath, born in New York City to German parents, draws inspiration from nature in his works. He studied at Stetson University and Columbia University under Ernst von Dohnanyi, Carlisle Floyd, and John Boda. Vollrath's compositions are known for their rich orchestrations and post-modern classical voice, often highlighting his background with writing for wind instruments and the wind orchestra. Fantasy for Piano & Orchestra features a striking contrast between angular melodies, winding harmonies, and dense, sustained textures. The sustained wind lines in particular are expertly rendered by the Royal Scottish National Orchestra, showcasing Vollrath’s skilful blending of texture and lyricism throughout his pieces.

Jacques Ibert
Flute Concerto: iii. Allegro scherzando
Jacques Ibert was widely recognised as an eclectic composer because he refused to align himself with any single musical school, trend, or genre. Instead, he adopted a creative philosophy in which, as he famously stated, “all systems are valid.” This resulted in a body of work distinguished by stylistic freedom, adaptability, and a willingness to blend diverse influences. The Flute Concerto is like a musical rollercoaster for flutists: hold onto your embouchure! It zips between jazzy swagger, dreamy daydreams, and flutey fireworks. Despite my flippancy here, the concerto stands as a cornerstone of the 20th-century flute repertoire, celebrated not only for its technical demands but especially for its gorgeous lyricism. Composed in 1932 and dedicated to Marcel Moyse, this concerto highlights the expressive and lyrical capacity of the flute in a unique and captivating way. But if you’ve ever doubted the flute’s cool factor, Ibert’s concerto is full of sonic superpowers. Pow!

Vince Pope 
Epilogue, Pt. 1 and 2
Vince Pope is a celebrated British composer and pianist, recognised for his contemporary and film music scoring. BAFTA-nominated and winner of an RTS award, he is renowned for his evocative soundtracks to acclaimed television series such as Misfits, Wallander, Black Mirror, and True Detective: Night Country. This month, Pope released Passages Home, recorded with the London Contemporary Orchestra. The recording project originated from a friend’s observation that Pope’s music resembled the ebb and flow of ocean waves. The album blends lyrical melodies, delicate piano passages, and textured electronic elements, resulting in a uniquely atmospheric and immersive experience, highlighting Vince Pope’s distinctive voice in the modern classical and television music landscape.

Brian Current
MISSING, Act 1, Scene 7
Brian Current is a composer and conductor recognised for his work on the contemporary scene in Canada. Among his most significant pieces is Missing, a chamber opera that shines a light on the urgent issue of missing and murdered Indigenous women and girls in Canada. The opera was created in partnership with Métis playwright Marie Clements, who contributed the libretto. True to its subject matter, the mood of Missing is deeply emotional and sombre. Current’s score is both sparse and powerful, skilfully weaving together classical and Indigenous musical elements to express themes of pain, loss, and the hope for healing and reconciliation. The opera’s minimalist approach and haunting melodies foster an intimate, reflective atmosphere, paying meaningful tribute to the victims and their families, and inviting audiences to confront this profound human tragedy with empathy and awareness.

Francisco Mignone 
Clarinet Concertino: iii. Allegro non troppo
Francisco Mignone (1897–1986) was a Brazilian composer, pianist, and conductor. Renowned for fusing European classical forms with Brazilian folk and popular styles, he was a leading figure in the nationalist movement in music. Mignone taught, directed orchestras, and composed extensively, achieving lasting significance in Latin American classical music. The Clarinet Concertino, written in 1957, showcases Brazilian folk influences through lyrical melodies and vibrant rhythms. The work, concise and expressive, remains a gem for chamber orchestra, reflecting Mignone's ability to blend classical and Brazilian traditions.

Tōru Takemitsu
Toward the Sea: ii. Moby Dick
Toru Takemitsu was a visionary Japanese composer who fused Western avant-garde and traditional Japanese sounds, leaving a lasting mark on music and film with his lush, dreamlike textures. This piece was originally commissioned by Greenpeace for their Save the Whales campaign in 1981, taking inspiration by Melville’s famous novel Moby-Dick. Takemitsu was obsessed with the idea of the sea as both a spiritual and creative force. You hear this in the way the flute and harp drift in and out with flowing phrases, almost like waves. The motif for the movement come from the notes E-flat, E, and A – which spell “SEA” in German notation. This evocative piece employs silence to give the listener space to reflect and fully absorb its enchanting sonic landscape. Haunting in its beauty, the music captures both the mystery and serenity of the ocean.

Herbert Howells
Rhapsodic Quintet, Op.31
Herbert Howells is celebrated for the expressive beauty and distinctiveness of his choral music, but his creative reach extended far beyond the choir stalls. He produced a significant body of orchestral and chamber works – piano concertos, string suites, quartets, and sonatas – that share the harmonic inventiveness and lyricism of his choral pieces. These instrumental works, while often overshadowed by his vocal output, reveal equal craftsmanship. A transformative moment in Howells’ artistic life was hearing Vaughan Williams’ Fantasia on a Theme by Thomas Tallis at its 1910 premiere in Gloucester Cathedral. Deeply moved, Howells later described the experience as the most significant musical impression of his life, so intense that he and his friend Ivor Gurney wandered Gloucester’s streets all night. Vaughan Williams’ influence is clear in Howells’ Rhapsodic Quintet, with its modal harmonies and episodic form, yet the piece remains distinctly Howells: lyrical, harmonically rich, and uniquely English.

Takashi Yoshimatsu
Cello Concerto, Op.91: i. Allegro
Takashi Yoshimatsu's Cello Concerto, titled “Centaurus Unit”, is a unique blend of diverse influences and musical styles, reflecting the composer's bridging of East and West. Composed in 2003, the concerto draws inspiration from a variety of sources, including Bach, Dvořák, the Japanese biwa lute, Buddhist sutra chanting, and even the recitation of the Koran. Yoshimatsu likens the cello’s sound to the human male voice, and in this work, the cello and orchestra merge into a single entity reminiscent of a centaur, which inspired the concerto's title. The movement I am featuring here moves from solemn and majestic themes through jazz and Asian folklore elements, culminating in a virtuosic cadenza for the soloist.

Philippe Hersant 
Éphémères: Crapauds et Insectes 
Philippe Hersant is a French composer who was born in Rome in 1948. Renowned for his poetic and imaginative style, he studied at the Paris Conservatory and has experience working in radio. His versatile output spans operas, film scores, and more. Hersant’s deep appreciation for literature is beautifully evident in this piece, particularly in this movement I am featuring entitled: Toads and Insects, which draws inspiration from Japanese haiku. The music captures fleeting moments, and in this section, offers a playful narrative – highlighted by a wonderfully humorous trombone passage. Do listen to the other movements, it’s a great work. But for Toads and Insects, do not adjust your set!

John Adams
Nixon in China
Often referred to as "the week that changed the world”, Richard Nixon’s 1972 visit to China marked the end of 25 years without diplomatic relations between the United States and China. This historic trip shifted the global balance of power during the Cold War and laid the groundwork for future economic and political ties between the two nations. In the mid-1980s, a then 25-year-old John Adams was commissioned to compose an opera about this pivotal event. Blending elements of minimalism, jazz, and big band, the piece explores the experiences of Nixon, Mao Zedong, their premiers, and first ladies as they grapple with international politics, cultural differences, and East-West tensions. I was intrigued to discover that although Adams initially harboured negative feelings toward Nixon, writing the opera led him to see the former president as a more complex and conflicted figure. The opera captures the excitement, anxiety, and monumental significance of the meeting that forever altered global affairs and individual lives.

Gustav Holst
Beni Mora: In the Street of the Ouled Nails
Holst was a genuine innovator of his era, constantly seeking out fresh voices, new melodies, and uncharted harmonies. As a teacher contending with the harsh realities of life in London, he found refuge in the music room at St Paul’s Girls’ School, where he could spend hours experimenting at the piano. By 1908, however, his health had declined: doctors urged him to seek a warmer climate to help ease his asthma and neuritis. Compounding his physical troubles was a profound sense of disappointment: years of professional setbacks, particularly the failure of his opera Sita to secure a major composition prize, had drained him emotionally and physically. Exactly why he chose Algeria remains a mystery; it was an unconventional destination for an Englishman of his time. Thanks to the financial help of Ralph Vaughan Williams, Holst was able to immerse himself in Algeria’s vibrant landscapes and local music, which left a lasting impact on his work. Above all, he was captivated by a local musician playing a bamboo flute – an experience that inspired this haunting movement. Built around a short, eight-note flute motif repeated a remarkable 163 times, the piece reflects Holst’s vivid recollection of that moment. The hypnotic repetition, set against mysterious orchestral timbres, creates a mesmerising, trance-like atmosphere that was remarkably progressive for its time.