by Ben Hogwood Picture: Erik Satie, by Pablo Picasso
Today marks the death of one of the most innovative 20th century composers, Erik Satie.
Satie was well ahead of his time…to the extent that even now, one hundred years on, some of his music gives the appearance of being fresh off the page. And indeed, there is some ‘new’ music to enjoy from his pen, as pianist Alexandre Tharaud has recently collated an album of Satie Discoveries, to be reviewed shortly on this site.
Satie’s music has proved incredibly versatile, and his most popular pieces are heard every day – not just on classical music radio, but as part of relaxing playlists and TV soundtracks. It is certainly fair to say that if you enjoy the music of Einaudi, Nils Frahm, Olafur Arnalds and the like, each of them would credit Satie as a lasting influence.
Here are some of his best-known pieces, with the Gymnopédies and Gnossiennes for piano proving some of his most minimal yet most memorable compositions. To counter those, it helps to have something of the more modern Satie – the Three Pieces in the Shape of a Pear, and two orchestral ballets – Relâche and Parade. Listen carefully to the latter and you will hear a tune that sounds remarkably like the theme to Postman Pat! You can access the playlist on Tidal here:
This year CRD Records are marking their 50th anniversary as a label with something of a refresh. Whereas the initials once stood for Continental Record Distributors, they are now undergoing a subtle rebrand to stand for Classical ReDefined.
I wanted to take this opportunity to pay tribute to an excellent label, particularly in the fields of chamber, instrumental and choral music, by way of a celebratory playlist which you can find on Tidal by clicking on the link below.
It includes some cornerstones of the repertoire from established CRD artists, such as pianist Paul Crossley in Ravel, Fauré and Takemitsu, Hamish Milne in Weber and Medtner, and an early Nash Ensemble treasure, their recording of Hummel’s ‘Military’ Septet.
Also appearing are L’Ecole D’Orphée, with cellist Susan Sheppard starring in Vivaldi, and some English gems from New College Choir Oxford under Edward Higginbottom. You can listen here:
On Sunday we learned of the sad news that Matthew Best, the British conductor and bass singer, had sadly passed away at the age of 68.
To many collectors, Best will be known for a series of very fine recordings made with two ensembles that he founded, the Corydon Singers and Orchestra, for Hyperion in the 1980s and 1990s. These discs became cornerstones of the label’s choral repertoire. Here is the text of an obituary shared by Matthew’s artist management team at Intermusica:
“It is with deep sadness that we inform you of the death of renowned British conductor and bass, Matthew Best. Matthew passed away today, 11 May 2025, surrounded by his loving family.
Matthew’s long career was defined by his extraordinary versatility earning him a distinguished reputation worldwide. An opera singer for over thirty-five years with over one hundred bass, bass-baritone and baritone roles in his repertoire, he also worked extensively as a choral and orchestral conductor across the UK and Europe, at various stages during his career as a composer, arranger and editor.
Julia Maynard, Director, Vocal & Opera, said:
“Matthew was one of the finest basses of his generation and an intuitive musician and interpreter of many of the major roles in the bass repertoire. He was a warm, funny, utterly engaging artist, teacher, friend, and a much loved parent, grandfather and husband. Our thoughts are with his most treasured family”
As a singer, Matthew was a regular guest artist for all the major UK opera houses, singing extensively the roles of Wotan in the complete Wagner Ring Cycle, The Flying Dutchman, King Mark, Amfortas, Kurwenal, King Heinrich, Scarpia and Jochanaan, and premiering new works by Jonathan Harvey, Julian Anderson and Kaija Saariaho. Matthew’s extensive concert career made his a familiar face across the country and in Europe and the USA, working with many distinguished conductors including Muti, Haitink, Colin Davis, Andrew Davis, Mehta, Nelsons, Salonen, Mackerras, Marriner, Runnicles, Gardiner and Hickox.
As an active composer and arranger, Matthew conducted the premiere of his operetta Alice (based on Lewis Carroll’s Alice in Wonderland) in Cambridge in February 1979, directed by Nicholas Hytner; with further performances as part of the 1979 Aldeburgh Festival, with a guest appearance by Sir Peter Pears. Matthew produced performing editions for a number of works, including of a rare Bruckner manuscript for inclusion in his Bruckner cycle for Hyperion Records.
Matthew was equally well known as a conductor specialising in choral, vocal and orchestral music, in 1973 Matthew founded the Corydon Singers and later, in 1991, Corydon Orchestra and went on to make over thirty highly-regarded recordings for the Hyperion label. His extended conducting career took him to many of the orchestras and festivals of the UK and Europe, where he was regular guest conductor with, amongst many others, the English Chamber Orchestra, London Mozart Players, Northern Sinfonia, City of London Sinfonia and BBC Singers. For the 1998/99 season he was Principal Conductor of the Hanover Band, and in 2017, Matthew became Music Director of the Academy Choir Wimbledon and Academy Baroque Players. In his final performance with the Academy Choir on 8 March 2025, he conducted the London Mozart Players in a performance of Brahms Requiem and Strauss Metamorphosen for Strings.
Since 2015, Matthew had been a highly regarded teacher at the Royal Northern College of Music, shaping the careers of many students, several of whom have gone on to have active professional careers. In April 2025, Matthew was awarded a Fellowship of the Royal Northern College of Music in acknowledgement of his remarkable career, an award he was able to collect in person from Head of Vocal Studies and Opera, Professor Lynne Dawson.
Our thoughts are with Matthew’s wife Roz and family at this incredibly sad time.”
The below link will take you to a Tidal playlist collecting a number of Matthew’s recordings as a singer, but principally those made with the Corydon Singers. My own personal favourites include those selections from albums of Vaughan Williams, Rachmaninov, Beethoven and Bruckner, finishing with a terrific performance of Vaughan Williams’ Dona nobis pacem.
On Thursday we learned the sad news of the passing of Ronald Corp, a much-loved conductor and composer. Ronald’s worth to The London Chorus, where he was musical director for 30 years, can be felt in the warmth of the tribute on their website
Below is a link to a Tidal playlist including a number of Ronald’s colourful recordings for Hyperion and Epoch. For the former he recorded works by Satie and Milhaud that have aged incredibly well, and he was also responsible for a renewed interest in British Light Music – all through albums made with the New London Orchestra. In addition he showed his prowess as a composer through premiere recordings of his Piano Concerto no.1 and Symphony no.1 released by Epoch. The symphony appears at the end of the playlist:
Yesterday we learned of the sad news of the death of Mexican conductor Enrique Bátiz. A flourishing pianist, Bátiz soon turned to conducting, and in 1971 was founder of the State of Mexico Symphony Orchestra. where he worked until 1983, at which point he became music director of the Mexico Philharmonic Orchestra. In 1984 he became principal guest conductor of the Royal Philharmonic Orchestra, a post he held for several years.
Below is a link to a Tidal playlist containing a number of his colourful orchestral recordings, including an important series devoted to Mexican classical music on ASV in the 1980s:
Arcana.fm 