Piano Topography
Euan Moseley
Volumes 1 & 2
Gusztáv Fenyö - piano
(Double CD)

Euan Moseley, b. 1943 Chesterfield, Derbyshire, England, lives near Chesterfield with his wife, Margaret. “My wife built the house (in 1976) and I made the sandwiches.” They have two children and two grandchildren, a dog and a dwindling number of hens. Euan taught mostly geography and history then latterly music before retiring. After a few years he decided to try composing. Written in 2001, “P.T.” is his first work. “It was a new year’s resolution ... a piece each week. 20 seemed to be the right number. The biggest problem was keeping the Steinway clean while fitting the engine. In February tinnitus caused a six month lay-off. I remember starting No.7. There were those surreal 9/11 T.V. pictures. A couple of weeks after Christmas was spent tidying up the pieces, seeing where the music looked better with rather than without key signatures and discarding a half-finished No. 21. 20 was the right number. In any case there was only enough food and petrol to get home.” “I try to keep fit so I can climb safely; this means most mornings scampering across the moors or cycling for a couple of hours. More Info

CC5991-2 CD x 2
CC5991-6 DVDA x2
CC5991-8 DL

The Topographs:
Disc 1:
No.1. This is the most abrasive of the 20.
No.2. Quick passages and slow chordal passages.
No.3. Subtle movement across the lower octaves.
No.4. The shortest of the Topographs.
No.5. A respite in waltz-time.
No.6. A jazzy and totally unexpected sidestep.
No.7. A kind of chess involving pianist and listener.
No.8. A mercurial scherzo.
No.9. This section moves into a gentle waltz-time.
No.10. Be prepared for the unexpected.
Disc 2:
No.11. A delicate allegro
No.12. Uncharted territory.
No.13. A melody in 7/4 and 8/4.
No.14. A place to linger before the reminder.
No.15. This is one of the most “playful” of the 20.
No.16. An unstoppable torrent.
No.17. A simple melody and a plaintive tune.
No.18. A melody in 10/8 on 3 staves.
No.19. Wide-ranging sonorities.
No.20. Andante chords now lead into a sleepy melody, eventually leading to those grace-noted chords which slip gently downwards to that triumphant first tune.