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Hyperion Records

1EMIPM08 - Pitts: Airs & Fantasias
Photo of Clifton Suspension Bridge by Mat Connolley

Recording details: August 2008
Victoria Rooms, Bristol, United Kingdom
Produced by Jonathan Scott
Engineered by Jonathan Scott
Release date: December 2013
Total duration: 82 minutes 34 seconds

'Highly listenable stuff, very deftly in control of its chosen medium. A number of disparate influences are on display here, but welded into an overall idiom of considerable charm … "Intensely pleasant music"? Most certainly' (International Record Review)

'This is a colorful and interesting set by a talented composer … the playing by Steven Kings is technically and emotionally perfect' (MusicWeb International)

'Are you going for piano triet brings this fine recording of interesting and evocative music to an exciting conclusion. As usual with Hyperion it is well recorded and it is all well worth listening to' (MusicWeb International) » More

Airs & Fantasias
Toccata  [9'41] English
Air 4: Sarabande  [3'49]
Bonus download track

A first mainstream airing for a wonderful recording first issued privately in 2008. This is 'modern' piano music at its best: summed up by one reviewer as 'intensely pleasant music', occasionally challenging to the listener (to say nothing of the performer), but always engaging—an infectiously melodious fusion of influences at once reminiscent of Bach and Einaudi. With more than an occasional hint of humour. And a ruler.

This recording is also available as a CD (CD.TP/ipm08) from

changes. A coordinated high-speed rotation of a peal of bells.

toccata (It. toccare ‘to touch’). A virtuosic fantasia-like composition, usually requiring immense dexterity, and played with such rapidity that the fingers have time only fleetingly to touch the keys.

air (It. aria). (1) a melody or tune, the flowing upper part of a texture. (2) a composition which is dominated by melody.

fantasia (It. ‘fancy’). (1) an instrumental piece in free form, improvisatory in substance or character, in which structure yields to the imagination. (2) any type of composition for which no other formal classification happens to occur to the composer.

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