This album celebrates the work of Thomas Adès, one of Britain’s ‘most imaginative composers’ (The Guardian), and Artist-in-Residence of the Hallé (2023-25).

Alongside a survey of his recent works for orchestra are pieces by William Marsey and Oliver Leith, composers who have been championed by Adès. Conducted by Thomas Adès, ‘one of the most accomplished and complete musicians of his generation’ (New York Times) this album features three world premiere recordings, including Adès’ Aquifer.

Thomas Adès, CBE: internationally acclaimed composer, pianist and conductor whose work has been presented in leading concert halls and opera houses worldwide. Recordings of his works have received numerous international awards and in 2024 Adès received the prestigious Royal Philharmonic Society Gold Medal from Sir Simon Rattle, who described him as being an ‘outrageously gifted’ musician.

Thomas Adès work Aquifer takes its name from an underground geological structure through which water seeps and flows, the work features orchestral writing which is full of colour and movement, flamboyant climaxes and rich expression.  Written during the first Covid lockdown, for an orchestra that had to play socially distanced, Dawn is constructed from a slowly unfolding passacaglia which passes between instruments, depicting the sunrise moving continuously around the world, in music of sonic beauty.  Repetition is also at the heart of Shanty, as material is passed between orchestral voices, with hypnotic and captivating results. In contrast, ingenious use of imitation and repetition produce a gripping effect in the invigorating brass fanfare Tower.

Oliver Leith’s Cartoon Sun, described as ‘mesmeric’ (The Arts Desk), was commissioned by the Hallé. The processional piece displays a rich soundscape,  coloured with large tolling bells and stunning orchestral climaxes.

The Hallé and Adès gave the world premiere of William Marsey’s Man with Limp Wrist  in 2023. Inspired by Salman Toor’s oil paintings and rooted in historical melody and harmony, Marsey’s ‘distinctive and strangely touching’ music (The Times) is full of emotion and expressive detail.

 

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