Lyrita releases its Chamber Music of William Busch album on 3 January 2025, with members of the Piatti Quartet, Simon Callaghan and Ashok Klouda (SRCD 439).
Click above to download on iTunes or stream on Apple Music
Three Pieces for Violin and Piano were written as individual works: as such, they can be presented separately or, if given collectively as a suite, played in any order. Busch wrote his Passacaglia for violin and viola in 1939: the score takes the form of a decisive, four-bar theme followed by thirty variants upon it. These mini variations range widely in character, from trenchant and forceful to airy and smooth.
A Memory for 'Cello and Piano was written for Elizabeth Poston. Busch subtly conveys the idea of a reminiscence suggested by the title with simple, lightly sketched ideas presented with an air of hazy nostalgia. Eventually, the feeling of distance and reserve created in the opening portion of the work is replaced by a more troubled mood. The music ends in sorrow with a heartfelt, steeply descending sequence for unaccompanied cello followed by the merest hint of the opening material.
The Quartet for Piano and Strings is the most substantial of William Busch’s chamber pieces. Although the composer’s lyrical gifts are much in evidence, the four movements are also rigorously concise. Considerable dramatic rewards are gained from the creative tension between the music’s unforced expressivity and the formal rigour with which Busch’s powerful themes are worked out.
The Suite for 'Cello and Piano is among Busch’s most searching and variegated instrumental works. In a postwar assessment of the score, The Times’ critic noted that its four pieces ‘reveal a sensitive and interesting mind’.
Elegy for 'Cello and Piano exploits fully the stringed instrument’s lyrical qualities and capacity for rich, autumnal colours. The work begins with an extended soliloquy for unaccompanied cello and the cellist continues to preside over the entire opening section, which features only a couple of brief interjections from the piano. © Paul Conway
A Memory for 'Cello and Piano was written for Elizabeth Poston. Busch subtly conveys the idea of a reminiscence suggested by the title with simple, lightly sketched ideas presented with an air of hazy nostalgia. Eventually, the feeling of distance and reserve created in the opening portion of the work is replaced by a more troubled mood. The music ends in sorrow with a heartfelt, steeply descending sequence for unaccompanied cello followed by the merest hint of the opening material.
The Quartet for Piano and Strings is the most substantial of William Busch’s chamber pieces. Although the composer’s lyrical gifts are much in evidence, the four movements are also rigorously concise. Considerable dramatic rewards are gained from the creative tension between the music’s unforced expressivity and the formal rigour with which Busch’s powerful themes are worked out.
The Suite for 'Cello and Piano is among Busch’s most searching and variegated instrumental works. In a postwar assessment of the score, The Times’ critic noted that its four pieces ‘reveal a sensitive and interesting mind’.
Elegy for 'Cello and Piano exploits fully the stringed instrument’s lyrical qualities and capacity for rich, autumnal colours. The work begins with an extended soliloquy for unaccompanied cello and the cellist continues to preside over the entire opening section, which features only a couple of brief interjections from the piano. © Paul Conway
'The performances here are excellent. The members of the Piatti Quartet, violinist Michael Trainor, violist Zahra Benyounes and cellist Jessie Ann Richardson are joined by pianist Simon Callaghan and 'cellist Ashok Klouda. ... The recording in the Concert Hall, Wyastone Leys has been well judged and the notes, as mentioned, are in the best of hands – Paul Conway’s. Busch is a composer with a gift for expressive intensity.'
Jonathan Woolf, MusicWeb International, 25 November 2024
Jonathan Woolf, MusicWeb International, 25 November 2024
'This is wonderful and original music, superbly performed.'
Gary Higginson, British Music Society, 26 November 2024
Gary Higginson, British Music Society, 26 November 2024
'Aquest disc és per a nosaltres una revelació. La música serena de William Busch, interpretada impecablement pel Piatti Quartet, ens duu a un desenllaç emocionant i desafiant.'
Marçal Borotau, Sonograma, 29 December 2024
Marçal Borotau, Sonograma, 29 December 2024
'William Busch (1901-45) whose Three Pieces for Violin and Piano (1943-44) and Passacaglia for Violin and Viola (1939) are among the gems of little-known English music. ... Confirming his reputation as an interpreter of 20th-century English music, pianist Simon Callaghan gives an impressive projection of Busch’s music. ... Full marks, too, for members of the Piatti Quartet: Michael Trainor, violin; Zahra Benyounes, viola; and Jessie Ann Richardson, cello — all beautifully recorded in the famously rich acoustic of the Wyastone Leys Concert Hall.'
Stuart Millson, Quarterly Review, 4 January 2025
Stuart Millson, Quarterly Review, 4 January 2025
'I have been most impressed by the music and performances here, and I live in hope that this composer enjoys the recognition that he truly deserves. ... Also to be commended are the accompanying notes and the excellent sound recording. I highly recommend this disc.'
Geoff Pearce, Classical Music Daily, 5 January 2025
Geoff Pearce, Classical Music Daily, 5 January 2025
'... die Symbiose aus ausdrucksvoll gezeigter spielerischer Linie und plastischer Ausarbeitung der Strukturen.'
'... the symbiosis of expressive, playful line and vivid elaboration of the structures is successful.'
Pizzicato, 9 January 2025
'... the symbiosis of expressive, playful line and vivid elaboration of the structures is successful.'
Pizzicato, 9 January 2025
EPK and listening link for reviewers and radio programmers available from Ulysses Arts Ltd.
William Busch (1901-45) 'developed a passion for music and took piano lessons at an early age, though he harboured no ambitions of a professional career as a pianist until his teenage years.' (Paul Conway). During many years he studied music with France Woodmansee and A. W. Lilienthal, piano with Leonid Kreutzer and Benno Moiseiwitsch, harmony with Hugo Leichtentritt, and composition with leading British composers Alan Bush, John Ireland and Bernard van Dieren.
'As the 1930s progressed, Busch began to focus increasingly on composition and soon forged his own personal creative language. This decade saw the first of his many songs, a widely acclaimed Piano Concerto, and on 1 June 1935, his marriage to Sheila, with whom he had two children, Nicholas and Julia. His life was cruelly cut short when he died of an internal haemorrhage at Woolacombe, Devonshire on 30 January 1945, robbing British music of one of its most promising and versatile talents.' Paul Conway
'As the 1930s progressed, Busch began to focus increasingly on composition and soon forged his own personal creative language. This decade saw the first of his many songs, a widely acclaimed Piano Concerto, and on 1 June 1935, his marriage to Sheila, with whom he had two children, Nicholas and Julia. His life was cruelly cut short when he died of an internal haemorrhage at Woolacombe, Devonshire on 30 January 1945, robbing British music of one of its most promising and versatile talents.' Paul Conway
