This is composer Stephen Goss’s most ambitious recording project to date: a triple album of recent works for orchestra, chamber ensembles, and solo instruments. Goss’s more widely known guitar music is heard within the context of his music for other instruments, and his close collaborations with performers are celebrated. But the music in this collection is above all an exploration of his two preoccupations: place and time – landscape and memory. His uses of quotations and stylistic references help to shape his pluralist musical language, which is characterised by abrupt gear changes. By turns, delicate and poised, moving, witty, poignant, boisterous, nostalgic, celebratory – this is music to give pleasure to its performers and listeners alike.

Stephen Goss’s music has been recorded on over a hundred albums by more than a dozen record labels, including Decca, EMI, Virgin Classics, Naxos, Deutsche Grammophon, and Deux-Elles. His work is widely performed internationally, often at leading venues such as Wigmore Hall and the Royal Festival Hall in London, Carnegie Hall in New York, and the Tchaikovsky Hall in Moscow. Goss has worked with many of the world’s major orchestras including: the Russian National Orchestra, the Oregon Symphony Orchestra, the Orquesta Sinfónica Nacional de Colombia, the China National Symphony Orchestra, the Royal Liverpool Philharmonic Orchestra, the Scottish Chamber Orchestra, BBC National Orchestra of Wales, and the Barcelona Symphony Orchestra. Commissions have come from percussionist Dame Evelyn Glennie, cellist Natalie Clein, flautist William Bennett, and tenor Ian Bostridge; as well as guitarists John Williams, David Russell, Miloš Karadaglić, and Xuefei Yang. Goss’s eclectic and versatile approach has led to collaborations with artists as diverse as Alt-J, Avi Avital, and Andrew Lloyd Webber.

“Timeless – at once prehistoric and futuristic.” – The Times