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Lovely stuff, full of unexpected harmonic twists! I initially thought the Adagio too slow, but as it unfolds it becomes clear why you chose that tempo. I'm astonished that it doesn't seem to have been commercially recorded yet. I'll have to give it a go, but this game gets harder and harder...

I'd have to concede it is a "good thing" if somebody likes it (and nobody dies)!

Alan asks "Is that a good thing?" This may not make perfect sense (I've only heard 3 short snippets of the piece so could well be misrepresenting it) but my entrenched resistance to retro music is because it patronizes the audience's taste, exploiting their nostalgia and leading them straight to their "safe place". Movement 1. - Stormy introduction immediately invoking Brahms' first piano concerto and all the associated connotations. Sibelian tremolandos, quickly resolving into a "big tune" (wouldn't it be more effective if we had to wait a bit, build up the anticipation? Nah, just give 'em what they like).  Movement 2. - a warm fireside feeling, Hovis for tea. Movement 3 - Echoes of Scottish Fantasy, kilts etc, probably develops into a general knees-up. In other words it's built out of favourite memories from past ages; mustn't risk disturbing the audience with unfamiliar sounds and ideas.

Thanks Martin, I'll PM you

No problem with the copyright but a question of property. I may be wrong but you may find the library only allows copying of their material for "personal" use. Not that they stand to gain anything by prohibiting dissemination, but in my experience librarians like to stick to the letter of the law.

I suspect scanning library material and uploading it to IMSLP would bring down the full wrath of the law, or at least the disapproval of the librarian. One day (actually more like one month) I may get around to transcribing my score of Billy Reed 5 to create parts and then upload them. Charles Wood's 8 quartets were in a similar state semi-limbo since all but two of them were only printed and published as scores, manuscript parts available for hire from OUP and now probably long gone. At least transcribing those scores was a lot easier than deciphering manuscripts.

It certainly arouses mine so I'll await the CD with frenzied excitement (well, eager anticipation). I tackled the fifth quartet a number of years ago but it wasn't much fun playing from the score which is all they have on IMSLP. If you've discovered or created a set of parts it would be much appreciated if you're willing to upload them.

Thanks Kenji, I think it's a terrific piece and very well played too.

Yes, I too warmly applaud those who take such pains for the sake of neglected repertoire - the hours it must take to notate and realize even a 12-minute piece like Ein Märchen. It was the example of The Rite of Spring that brought home to me that, whereas some music makes its impression pretty well given an accurate rendition of the notes on the page, there's a great deal more that can only be revealed by personal interpretation and communication.

One marvels at the technology, but is it music?  I get no sense of mystery or personal involvement which is such a vital element of any performance of the Rite. It's like Shakespeare immaculately performed by robots. I dread the day that this starts to be regarded as a substitute for the real thing, but fortunately I think the "human" element will for ever elude the robotmasters.

Ten years ago nothing was known of Percy's music apart from the four works published during his lifetime. Today I count about 50 manuscripts on my hard drive and I know there are plenty more stashed underneath Bill Miles's staircase in Calgary.

Until I heard Kasia and Ian's recording of the 1894 violin sonata I was inclined to discount the pre-1900 pieces as juvenilia but this disc has absolutely changed my mind. I still think it's true that it was during his European tour (funded by the Mendelssohn Scholarship) in 1901 that Percy started to develop a voice and style of his own, first in evidence in the F minor string quintet which I'd love to see on Mike's "to do" list. I believe there are already plans to record the clarinet quintet of 1904. I'd love to get to grips with the later violin sonatas in Eb (1910) and Ab (1918) but unfortunately I suspect they're beyond me.

Then there are the two substantial string quartets finished in 1918 and the prize-winning string sextet published by Stainer and Bell in 1920. The latter is scheduled for performance by Phil Hall and his colleagues from the BBCSO in Percy's home town of Erith on the very centenary of his death, April 18th (Easter Monday) 2022.

I think I've got to the root of the confusion about Percy and Billy. Phil Hall who wrote the excellent "sleeve" notes for the CD tells me that in 1896 they combined in a performance of a string trio by Reed but has no evidence that they played quartets together.

Mike, I want to be first to congratulate you and the whole team on an excellent production, superb recording and terrific playing. And the quality of the music surprised even me! Who could possibly believe that the violin sonata was written by a 16-year-old?

I'm aiming to have the manuscripts fully transcribed by the release date and will upload them to IMSLP, with Bill Miles's permission.

Gerd, I believe you must have a far better musical imagination than I possess!

Certainly more harmonically "advanced" than her two piano concerti, but on second hearing of the first movement I hear Rachmaninov (particularly the G minor sonata) even more strongly. And in a way that suggests she had thoroughly assimilated the idiom and had something of her own to say. The second and third movements are growing on me too. I think it's gorgeous, so good luck KenjiF - maybe remind us nearer the date?