On the Shoreline

Lawson Trio

Both [movements] have an obsessive quality that the players caught and mined for maximum expressive intensity… the lyrical elements of the score were beautifully rendered. This is an impressive score and its stature was evident in the Lawson Trio’s cogent and convincing interpretation.” - Paul Conway, Musical Opinion, April-June 2019. CD Launch

Both [movements] have an obsessive quality that the players caught and mined for maximum expressive intensity… the lyrical elements of the score were beautifully rendered. This is an impressive score and its stature was evident in the Lawson Trio’s cogent and convincing interpretation.” - Paul Conway, Musical Opinion, April-June 2019. CD Launch Concert, Firth Hall, Sheffield.

Gordon Crosse is a composer of long-standing repute. Over the course of his career he has been commissioned to write works by festivals and orchestras including: BBC Symphony Orchestra, the Royal Philharmonic Orchestra, the Hallé Orchestra, the Scottish Chamber Orchestra, the London Symphony Orchestra, the Cheltenham Festival, the Aldeburgh Festival, the Edinburgh Festival and the BBC Proms. This disc features works written (or extensively revised) within the last six years, the most substantial of which is the Trio no.1 for Violin, Cello and Piano, originally written in 1985/6 for the Hartley Trio but substantially revised in 2012 for the Lawson Trio’s Park Lane Group concert at the Southbank Centre.

Other works on the disc include the Piano Sonata no.1 (2013/4), played by the Lawson Trio’s pianist, Annabelle Lawson - a work by turns robustly statuesque and ethereal and the witty miniatures Ron’s Toyes (2014) for solo piano, inspired by the intricate wooden toys of toymaker and artist, Ron Fuller. On the Shoreline (2016) for seven solo strings and sopranino recorder, is inspired by the landscape of Orkney and the movements of the sea birds over the course of a day, from dawn to dusk. Papay Sonata (2016), for clarinet and piano, was similarly inspired by the every-changing colours and weather of Papa Westray and, in the composer’s own words “above all, a joyful serenity from being nearly off the map”.

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