Laurence Crane: 6 Trios, 2 Solos and 1 Quintet

“Classical CD of the year 2017 ”Liam Cagney, Gramophone Magazine

This collection of nine works of mine, recorded by the Ives Ensemble, spans exactly 30 years but all the music was actually written at the opposite ends of this period of time. The six trios are early pieces, composed in 1986 and 1989, while Piano Quintet and the two works for solo piano were written between 2011 and 2016. A 10th piece was also recorded and is available only on download, this is Holt Quartet, composed in 2013. If these compositions were listened to in chronological order, Hugo Pine (1989) would be followed by Piano Quintet (2011). These two works are both entirely characteristic of my compositional endeavour at those particular points in time. They are in some ways similar and in some ways different. What has changed in the intervening 22 years? Laurence Crane

In stock
Catalogue Number

Lawrence Crane’s music does so much with so little. The gestures are frank and ambiguous, bemused and sincere, self-deprecating and alert, unadorned and unpretentious. Take 2011’s Piano Quintet, the central work on this lovely new disc from the Ives Ensemble. It starts as a lumpen waltz, as endearing as awkward dancers who don’t give a damn, then subsides into little phrases that tug repeatedly, now hopeful, now fretting. The means are simple but the impact is deep. In his booklet notes, Crane points out that this collection spans three decades.“What has changed in the intervening years?” he asks of his own creative evolution. The answer seems to be about scale and structure – longer movements, more complex ways of organising material – but the uncluttered courage of those early pieces is still there. It is all performed with a clean graciousness that sounds way easier than it is. Kate Molleson, The Guardian

Classical recording of the Year 2017 The seemingly prosaic surface of Laurence Crane's music belies its strange depths. These Chamber works repeat ostensibly simple melodic and rhythmic motifs to a vivifying end. If comparisons to Sate and feldman come to mind the musici is distinctively Crane's own, by turns whimsical, obsessive, pensive and sincere. Liam Cagney, Gramophone

© 2010-2020 Wyastone. All Rights Reserved.