In this thoughtful collection of chamber music, Ian Stephens’s work reveals a rare balance of melodic clarity and inventive disruption, qualities that have drawn artists like Cate Le Bon, Ian Broudie, and OMD to his arranging talents. Here, Stephens’s signature rhythmic vigour, theatrical subtlety, and knack for weaving unexpected moments define each piece, creating a body of work that intrigues as much as it soothes.

Celtic Elegy for clarinet and cello sets the tone with a gentle homage to Celtic traditions. Initially inspired by the Irish air She Moved Through the Fair, the piece unfolds its own melody through understated layers, mirroring the drones and ornamentation of Scottish bagpipes. This composition showcases Stephens’s sensitivity to the soul of folk music while remaining efficient in form.

Springhead Echoes and the Clarinet Quintet, two works linked by memory and place, extend Stephens’s nuanced approach to melody and rhythm. Commissioned in memory of Rosalind and Brian Richards, they explore themes rooted in friendship and place. Springhead Echoes for string quartet channels Brahms with themes that emerge in delicate counterpoint, invoking the charm of Rosalind’s lifelong connection to her home in Dorset. Meanwhile, the Clarinet Quintet subtly references Beethoven’s opera Fidelio, blending nostalgic elements with Stephens’s penchant for inventive structure.

In North Country for string quartet, Stephens deftly reinterprets the folk tune The Oak and the Ash, transforming it across three movements: Lilting, Heartfelt, and With Abandon. The tune surfaces and recedes, guiding listeners through a series of evolving textures. From the reflective openness of the first movement to the vibrant, Latin-inspired rhythms of the finale, Stephens showcases his ability to shift seamlessly between tradition and innovation.

Finally, the Oboe Quintet offers a poignant tribute to two amateur musicians of the Liverpool music scene. Here, Stephens emphasises the oboe’s natural expressiveness through long phrases and joyful rhythmic interjections, balancing lyrical intimacy with structured dance-like sequences. The Passacaglia, inspired by Bach, builds through symmetrical chords and shifting time signatures, adding depth to the piece’s intricate framework.

These chamber works not only illustrate Ian Stephens’s gift for melody and recontextualisation but also his acute attention to instrumental character. Each piece encourages reflection, embodying both the intellect and spontaneity that mark Stephens as a contemporary voice with a profound respect for musical lineage.

Raised in Devon as a cellist and singer, Stephens studied at the University of Bristol and later worked with the Royal Liverpool Philharmonic Orchestra. He now teaches at Chetham’s School of Music in Manchester. His works, including Ella’s Big Chance: A Jazz Age Cinderella and Pinocchio, demonstrate his skill in elevating melody with strong rhythmic profiles and theatrical clarity. His Celtic Elegy showcases his ability to blend soul and efficiency, earning him work as an arranger for artists like Cate Le Bon and Ian Broudie.