Peter Jacobs - The Silent Pool: British Piano Music by Women Composers (2025) [Hi-Res]

Tracklist

01. Piano Sonata No. 3 in D Major: I. Allegro
02. Piano Sonata No. 3 in D Major: II. Allegro vivace
03. Piano Sonata No. 2 in C-Sharp Minor: I. Andante
04. A Country Town: I. The Fair
05. A Country Town: II. The Quarrel
06. A Country Town: III. Lament
07. A Country Town: IV. The Knife-Grinder
08. A Country Town: V. Bells
09. The Silent Pool
10. The Silver Moon
11. Colour Suite: I. Pink Mirror
12. Colour Suite: II. Red Glory
13. Colour Suite: III. Yellow Hammers
14. Colour Suite: IV. Blue Air
15. Colour Suite: V. Brown Study
16. The Moon Over Westminster Cathedral
17. Indian Love Lyrics: I. Less than the dust
18. Indian Love Lyrics: II. The Temple Bells
19. Vespers in Venice
20. Christmas Past, Christmas Present: I. The Christmas Tree
21. Christmas Past, Christmas Present: II. Christmas Eve
22. Christmas Past, Christmas Present: III. Giving
23. Christmas Past, Christmas Present: IV. Christmas Past
24. A Mystery of Cats: I. Reg
25. A Mystery of Cats: II. Rosie
26. A Mystery of Cats: III. Tom
27. Lullaby for Owain
28. Gigue
29. Moods
30. Cobweb Castle: I. Fly away ladybird
31. Cobweb Castle: II. Evensong

Peter Jacobs explores the contribution made by women composers to the genre of British piano music. Jacobs writes, ‘This introduction to my CD of piano music by British women composers is being written in the spring of 2025. It seems a highly appropriate time to be doing this. Women musicians are being celebrated everywhere, with books, recordings and concerts all extolling their achievements. Women conductors are the norm and the Master of the King’s Music is a distinguished woman composer. The CD you now possess is a slightly quirky, and certainly a personal offering. If you are looking for a coherent and well-structured sequence, you will be disappointed. Rather, I have dipped into my library of over 60 years’ collecting and arrived at a fairly random selection of pieces, united by being rewarding to play, beautifully written for the instrument, varied in style and intellectual depth. No one idiom dominates. For example, Helen Grimes’s angular and spiky Silver Moon is followed by the more relaxed cocktail bar moods of Madeleine Dring’s Colour Suite. The shadows of Cecilia McDowall’s Vespers in Venice leads to the innocence of Judith Bingham’s Christmas Past, Christmas Present.’

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