On Record – Mark Padmore, Martha McLorinan, Hugo Hynas, Morgan Szymanski, Nicholas Daniel, Sacconi Quartet: Alec Roth: Chamber Music with Voice (Signum Classics)

Mark Padmore (tenor), Morgan Szymanski (guitar) (A Road Less Travelled); Martha McLorinan (mezzo-soprano), Sacconi Quartet [Ben Hancox and Hannah Dawson (violins), Robin Ashwell (viola), Cara Berridge (cello)] (The Garden Path), Hugo Hymas (tenor) with Nicholas Daniel (oboe) (Other Earths and Skies)

Alec Roth
A Road Less Travelled (2017)
The Garden Path (2013, rev. 2022)
Other Earths and Skies (2010, rev. 2022)

Signum Classics SIGCD971 [61’12”] English texts included
Producer Adrian Peacock Engineer David Hinnitt

Recorded 6,8 & 10 October 2025 at Church of St Anne and St Agnes, Gresham Street, City of London

Reviewed by Richard Whitehouse

What’s the story?

Signum Classics resumes its coverage of Alec Roth (b.1948) with this album of song-cycles, their scoring with guitar, string quartet or oboe confirming the versatility of the composer’s idiom and enabling each to be enjoyed on its own terms or as part of the overall programme.

What’s the music like?

Best known for larger-scale choral works (though his string quartets – recorded by the Allegri Quartet on RTF Classical NI6321 – are well worth anyone’s investigation), Roth has produced a number of song-cycles whose accompaniment can be as crucial as the words in determining the overall expressive trajectory. Each of these works has notable British precedents – Britten or Walton with guitar, Gurney or Vaughan Williams with string quartet, then VW again with oboe – though, in terms of his fashioning a personal response, Roth is definitely his own man.

Performable with guitar and/or string quartet (the former chosen here), A Road Less Travelled sets (whole or in part) 12 poems by Edward Thomas – though the title is actually the title of a poem by Robert Frost, the American poet who had encouraged Thomas to develop his poetic muse. Pivoting around an instrumental Interlude, the settings in this ‘solo cantata’ are mainly brief while strongly evocative of a mood shared by all these texts; namely, the journey itself as more lastingly significant than the destination indicated, or at least implied, over its course.

The ‘song-cycle’ that is The Garden Path utilizes four poems by Amy Lowell and started out with piano accompaniment before being revised with string quartet. Here it is those parallels between her garden, which the poet describes in its myriad states and variety, and the human condition which come to the fore in these four relatively lengthy settings; alongside a feeling of what may lie beyond such luxuriance and abundance for the protagonist, as for the reader. That such ambiguity emerges so candidly yet obliquely is integral to this cycle’s fascination.

Finally to Other Earth and Skies – these ‘five miniatures’ after eighth-century Chinese poet Li Bai (once known as Li Tai-po) having been translated by Vikram Seeth, an author with whom Roth has collaborated on numerous occasions. It is the haiku-like brevity and concentration of the texts as sets the tone for this sequence, with its interplay between all-too-human emotions and metaphysical longing in which any vestige of ego has been subsumed into the numinous. Quite likely the deepest such cycle featured on this album, and certainly the most intriguing.

Does it all work?

Pretty much throughout. As an adherent of the ‘less is more’ ethos, Roth’s settings are almost consistently spare in texture and restrained in manner; their meaning arising out of the actual words as much as from any poetic gloss. Demonstrably yet never stereotypically tonal, while often teasing as to their emotional remit, this is song-writing of a high order and as pleasurable for the listeners as they are manifestly are for the singers and instrumentalists featured herein. All the texts are included, though there is never any problem with hearing what is being sung.

Is it recommended?

Indeed it is. The church acoustic is evidently an ideal ambience for recording such music, and those who respond to it should investigate earlier releases of Roth on this label – most notably the vocal miscellanies Songs in Time of War (SIGCD124) or Sometime I Sing (SIGCD332).

Listen / Buy

You can listen to excerpts and explore purchase options at the Signum Records website. Click on the names to read more about composer Alec Roth, and the performers Mark Padmore, Martha McLorinan, Hugo Hymas, Morgan Szymanski, Nicholas Daniel and the Sacconi Quartet

Published post no.2,893 – Wednesday 20 May 2026

In concert – Sacconi Quartet & Festival Voices: Earth Unwrapped – Terry Riley’s Sun Rings

Sacconi Quartet [Ben Hancox, Hannah Dawson (violins), Robin Ashwell (viola), Cara Berridge (cello]; Festival Voices [Lucy Cronin, Ana Beard Fernández, Lucy Goddard, Sam Jenkins, Michael Craddock, Oskar McCarthy] / Greg Batsleer; Brett Cox (electronics)

Riley Sun Rings (2002)

Hall One, Kings Place, London
Thursday 16 January 2025

by Ben Hogwood Pictures courtesy of Monika S Jakubowska / Kings Place

A sobering thought: in the course of this concert, the NASA spacecraft Voyager 1 travelled another 60,000 miles away from the Solar System.

Quite how far it will travel in the course of the Kings Place festival Earth Unwrapped remains to be seen, but by that time audiences will have enjoyed a wide array of musical and visual treats, all designed to heighten awareness of the plight in which we find ourselves here on planet Earth.

Such thoughts were close to the surface throughout Sun Rings, an ambitious start to the festival. The substantial work was completed by Terry Riley in 2002, the result of an approach made by NASA to the Kronos Quartet. They wanted to create a work based on recordings of ‘space sounds’ (plasma waves) from Voyager 1 made by Professor Donald Gurnett. Riley had these transferred to audible audio frequencies in order to mark 25 years since the spacecraft was launched, at the same time contemplating the place of humanity in the universe. Since Sun Rings was completed, Voyager I has passed from the Solar System to interstellar space.

The Kronos Quartet released their recording of Sun Rings in 2019 (reviewed by Arcana here), and until now were the only ensemble to have played the piece in public. This UK premiere from the Sacconi Quartet and Festival Voices changed that, an illustration of the ever-growing reach of ‘minimalist’ music. The twelve assembled on stage performed heroically, the unbroken span of ten movements lasting 90 minutes yet delivered with flair, poise and no little emotion.

The music was prefaced by words from Riley himself, a stamp of authenticity and gratitude from the 90-year-old composer. It was the first of many audio clips carefully managed by Brett Cox, whose contributions were crucial to the success of the performance. Chief among these were the audio translations of the Voyager craft itself, converted by Riley from spectrographs. They provided an industrial edge to the sound – reminiscent of Voyager contemporaries Cabaret Voltaire – and were alternately eerie and consoling in their different sound worlds. As the audience sat in the dark the notion of being on our own journey was inescapable, a reminder that our own planet moves even quicker than Voyager 1 itself.

The quartet made a strong start, bolstered by colourful percussion. The Overture, Hero Danger and Beebopterismo sections had rhythmic vitality, complemented by the electronics and samples. Towards the halfway mark however the momentum and intensity flagged, the notion of deep space now all around us but feeling more oppressive. Time stood relatively still in the eerie Earth / Jupiter Kiss section, though Riley’s musical intensity flagged before being re-energised by the Festival Voices. The excellent singers brought expression and impetus to Earth Whistlers and Prayer Central, but on occasion it was difficult to hear some of the words, the singers’ pitch aligned with the frequency of the audio recordings.

The most powerful music, ironically, was the slowest and the most restrained. The coda, One Earth, One People, One Love, became a deeply felt meditation, the singers whispering under their breath as they moved slowly to the exit in an inspired piece of choreography. The pensive strings remained, adding their commentary to recorded spoken word, whose statements could not have been more apt.

As I write this, the news of alarming carbon dioxide levels in the Earth’s atmosphere serves as a reminder of our changing world, hurtling towards the environmental precipice. This stark reality check confirms Earth Unwrapped to be arguably the most important arts festival in London this year – and this was an auspicious start.

For more information on the Earth Unwrapped festival, head to the Kings Place website. Click on the artist names for Sacconi Quartet and Festival Voices, and composer Terry Riley. You can visit NASA to find out where Voyager 1 and Voyager 2 are now

Published post no.2,415 – Saturday 17 January 2025