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1. Rosée (Dew) 0:00 2. Matin d'avril (April morning) 2:32 3. Premier cercle 10:35 4. Aztec Pastorale 14:42 5. Ondoyant 17:42 6. Threnody I 24:08 7. Threnody II 28:09 8. Organum 30:54 9. Cadential Light 35:09 10. Still life with wisteria 38:48 11. Introduction and Blue Rondo barbaro 44:14 16. C-as F. 51:42 Peter Bannister – piano The present collection of piano improvisations was recorded during a week in April 2023 at La Tanière in the hamlet of Villard in Burgundy, France. Some of the pieces evolved in a purely spontaneous, organic manner ("Matin d'avril", "Cadential Light..."), some might be described as semi-organized compositions intended to explore a particular pianistic texture, mode, harmonic climate or mood, while others ("Threnodies I/II, Introduction and Blue Rondo barbaro") feature improvisatory elements within a defined but non-notated structure similar to that of a conventional score. Some movements could be loosely classified as "non-narrative" or "ambient" ("Still life with wisteria, "C-as F."), close to the sonic environments of Nils Frahm, while others such as "Premier cercle" or "Organum" are nearer to jazz in idiom and melodic-harmonic style. Those interested in detecting specific influences or allusions will have little difficulty in identifying them, especially if they follow the clues given by some of the titles. These offer eclectic nods in the direction of Pat Metheny ("First Circle" in French), Francis Poulenc ("Matin d'avril" referring verbally rather than musically to his song "Lune d'avril" (April Moon)), Germaine Tailleferre ("Pastorale Inca"), Liszt/Scriabin (Threnodies I/II), Morton Feldman (Cadential Light) Dave Brubeck and Bartok ("Introduction and Blue Rondo barbaro"). The title of the final piece, "C-as F." refers to the first three notes plucked on the bass strings inside the piano: C - A flat - F in German notation. Cet album d'improvisations au piano a été enregistré lors d'une semaine en avril 2023 à La Tanière, dans le hameau de Villard, en Bourgogne, en France. Certaines pièces ont vu le jour de manière purement spontanée et organique (« Matin d'avril », « Cadential Light... »), d'autres pourraient être décrites comme des compositions semi-organisées visant à explorer une texture pianistique, un mode, un climat harmonique ou une ambiance particulière, tandis que d'autres encore (« Threnodies I/II », « Introduction » et « Blue Rondo barbaro ») comportent des éléments d'improvisation au sein d'une structure définie mais non notée, semblable à celle d'une partition classique. Certains morceaux pourraient être considérés comme « non narratifs » ou « ambiants » (« Still life with wisteria », « C-as F. »), rappelant les ambiances sonores de Nils Frahm, tandis que d’autres, comme « Premier cercle » ou « Organum », se rapprochent davantage du jazz par leur idiome et leur style mélodique et harmonique. Ceux qui veulent identifier des influences ou des clins d’œil spécifiques n’auront pas de mal à les repérer, surtout s’ils suivent les indices donnés par certains titres. Ceux-ci font des clins d’œil éclectiques à Pat Metheny (« First Circle » en français), Francis Poulenc (« Matin d’avril », référence verbale plutôt que musicale à sa mélodie « Lune d’avril » (April Moon)), Germaine Tailleferre («Pastorale Inca»), Liszt/Scriabine (Thrénodies I/II), Morton Feldman (Cadential Light), Dave Brubeck et Bartók («Introduction et Blue Rondo barbaro»). Le titre du dernier morceau, « C-as F. », fait référence aux trois premières notes pincées sur les cordes graves à l'intérieur du piano : C - As - F en notation allemande (do - la bémol - fa). Production: Transept Music 2023-2026 With thanks to Marcia Hadjimarkos / Paula & Jean Taquet-Woolfolk

1. Rosée (Dew) 0:00 2. Matin d'avril (April morning) 0:28 3. Premier cercle 0:58 4. Aztec Pastorale 1:40 5. Ondoyant 2:23 6. Threnody I 3:10 7. Threnody II 4:04 8. Organum 4:40 9. Cadential Light 5:41 10. Still life with wisteria 6:34 11. Introduction and Blue Rondo barbaro 7:22 16. C-as F. (C - A flat -F) 9:01 Peter Bannister – piano The present collection of piano improvisations was recorded during a week in April 2023 at La Tanière in the hamlet of Villard in Burgundy, France. Some of the pieces evolved in a purely spontaneous, organic manner ("Matin d'avril", "Cadential Light..."), some might be described as semi-organized compositions intended to explore a particular pianistic texture, mode, harmonic climate or mood, while others ("Threnodies I/II, Introduction and Blue Rondo barbaro") feature improvisatory elements within a defined but non-notated structure similar to that of a conventional score. Some movements could be loosely classified as "non-narrative" or "ambient" ("Still life with wisteria, "C-as F."), close to the sonic environments of Nils Frahm, while others such as "Premier cercle" or "Organum" are nearer to jazz in idiom and melodic-harmonic style. Those interested in detecting specific influences or allusions will have little difficulty in identifying them, especially if they follow the clues given by some of the titles. These offer eclectic nods in the direction of Pat Metheny ("First Circle" in French), Francis Poulenc ("Matin d'avril" referring verbally rather than musically to his song "Lune d'avril" (April Moon)), Germaine Tailleferre ("Pastorale Inca"), Liszt/Scriabin (Threnodies I/II), Morton Feldman (Cadential Light) Dave Brubeck and Bartok ("Introduction and Blue Rondo barbaro"). The title of the final piece, "C-as F." refers to the first three notes plucked on the bass strings inside the piano: C - A flat - F in German notation. Cet album d'improvisations au piano a été enregistré lors d'une semaine en avril 2023 à La Tanière, dans le hameau de Villard, en Bourgogne, en France. Certaines pièces ont vu le jour de manière purement spontanée et organique (« Matin d'avril », « Cadential Light... »), d'autres pourraient être décrites comme des compositions semi-organisées visant à explorer une texture pianistique, un mode, un climat harmonique ou une ambiance particulière, tandis que d'autres encore (« Threnodies I/II », « Introduction » et « Blue Rondo barbaro ») comportent des éléments d'improvisation au sein d'une structure définie mais non notée, semblable à celle d'une partition classique. Certains morceaux pourraient être considérés comme « non narratifs » ou « ambiants » (« Still life with wisteria », « C-as F. »), rappelant les ambiances sonores de Nils Frahm, tandis que d’autres, comme « Premier cercle » ou « Organum », se rapprochent davantage du jazz par leur idiome et leur style mélodique et harmonique. Ceux qui veulent identifier des influences ou des clins d’œil spécifiques n’auront pas de mal à les repérer, surtout s’ils suivent les indices donnés par certains titres. Ceux-ci font des clins d’œil éclectiques à Pat Metheny (« First Circle » en français), Francis Poulenc (« Matin d’avril », référence verbale plutôt que musicale à sa mélodie « Lune d’avril » (April Moon)), Germaine Tailleferre («Pastorale Inca»), Liszt/Scriabine (Thrénodies I/II), Morton Feldman (Cadential Light), Dave Brubeck et Bartók («Introduction et Blue Rondo barbaro»). Le titre du dernier morceau, « C-as F. », fait référence aux trois premières notes pincées sur les cordes graves à l'intérieur du piano : C - As - F en notation allemande (do - la bémol - fa). Production: Transept Music 2023-2026 With thanks to Marcia Hadjimarkos / Paula & Jean Taquet-Woolfolk

Peter Bannister (1966 - ) Felix cæli porta (Ave maris stella) (2024) Peter Bannister - organ / orgue recorded / enregistré : Eglise de la Réconciliation, Taizé, France (Grenzing, 2009), 2025 Ave, maris stella, Dei mater alma, atque semper virgo, Felix cæli porta... Hail, star of the sea, blessed Mother of God and ever Virgin, happy gate of heaven... Recording: Transept Music 2025 Sheet music https://www.universaledition.com/en/Works/Felix-caeli-porta-Ave-maris-stella/P0286497

Rethinking Russia: Sergei Rachmaninov (1873-1943) From St John's Gospel 0:00 Molitva / Prayer (1916) 1:07 Peter Bannister (1966 - ) after S. Rachmaninov From St John's Gospel 3:53 Molitva / Prayer 6:32 Sheet music: https://www.universaledition.com/en/Works/Lauda-and-Litany-Five-Russian-songs/P0208577 "From St John's Gospel" (without opus, written by Rachmaninov at the end of 1914 and published by Jürgenson the following year as part of a collection in aid of war relief - a context which explains the perhaps surprisingly somber tone of Rachmaninov's setting) "No one has greater love than this, to lay down one's life for one's friends." (John 15:13) Molitva / Prayer Written in 1916 but unpublished during Rachmaninov's lifetime, the song was edited and revised by Nina Koshetz (1891-1965), to whom it was dedicated, on the basis of pencil sketches left to her. It was published as one of two "Sacred Songs" by Belwin Mills in 1973. Teach me, O God, to love You with all my mind, with all my thoughts, So that I may devote my soul to You And my whole life with every beat of my heart. Teach me to follow Only Your merciful will, Teach me never to complain About my laborious lot. All those whom You came to redeem With Your purest blood, With selfless, profound love Teach me, O God, to love. (Konstantin Romanov (1858-1915) Peter Bannister - voice/piano Recording: Transept Music Productions 2026 Image: Constantin Somov portrait of Sergei Rachmaninov, 1925 (Wikimedia Commons). See also essay: "Can there be another Russia?" https://drive.google.com/file/d/1QidOpd4sD9w5jvCg7f2e12TSfZtu62Zl/view?usp=sharing (English/français)

Re-thinking Russia Modest Mussorgsky (1839-1881) Molitva (Prayer) 0:00 Peter Bannister (1966 - ) Molitva after M. Mussorgsky 3:21 Peter Bannister - bass-baritone, piano I, Mother of God, now pray Before your image, your radiant light, Not for my own desolate soul, For the soul of a homeless wanderer in the world But I wish to entrust an innocent spirit To the warm intercessor of a cold world. Surround the worthy soul with happiness, Give it attentive companions, Bright youth, tranquil old age, The peace of hope for the kindly heart. (Text: Mikhail Lermontov (1814-1841), modified) Recording: Transept Music Productions 2026 The present recording is part of the project entitled "Re-thinking Russia", an attempt to engage creatively with the classics of Russian musical culture, without shying away from its paradoxical aspects. The coexistence in the life and work of Modest Mussorgsky (1839-1881) of remarkable artistic individuality and undeniable grandeur alongside total alcoholic disorder is a good example; the same might be said of the author of the text of 'Molitva' (Prayer), Mikhail Lermontov, Russia's most famous poet of the Romantic era, who was killed in a duel at the age of 27. The reader and listener alike are confronted by a tension between, these two artists' desire for spiritual elevation and their (self)-destructive impulses - it could be said that they both exemplify broader apparent contradictions which is still very much a part of Russian culture... and which remain largely unresolved. PB See also Four songs after Sergei Rachmaninov – an exercise in ‘re-thinking’ Russia through music (pdf): https://drive.google.com/file/d/1QidOpd4sD9w5jvCg7f2e12TSfZtu62Zl/view?usp=sharing (English/français)

Bass-baritone / piano: Peter Bannister Recording: Les Arches Musicales, Cluny, France Transept Music Productions, May 2026 Four songs after Sergei Rachmaninov – an exercise in ‘re-thinking’ Russia through music (pdf): https://drive.google.com/file/d/1QidOpd4sD9w5jvCg7f2e12TSfZtu62Zl/view?usp=sharing (English/français) 1. It is time (after S. Rachmaninov Op. 14 n. 12) 0:00 The time has come! Show yourself, O Prophet! With the full force of sorrow, With the full force of love, I call out to you! Behold how frail we are, behold how weary, How helpless we are in this agonizing struggle! Now – or never!... Consciousness is dying, Shame is fading, conscience sleeps. Nowhere is there a glimmer, Only nothingness raises its voice... (Semyon Nadson (1862-1887)) Sheet music: https://www.universaledition.com/en/Works/Pora-The-time-has-come-after-Sergei-Rachmaninov/P0356922 2. The Raising of Lazarus (after S. Rachmaninov Op. 34 n. 6) 3:35 O my King and my God! In time you spoke the word of power and the prison of the grave was broken, and Lazarus revived and rose. I pray and the word of power comes, You say to my soul: “Arise” And from the coffin it will arise And appear in the light of your rays And come to life, and its stately praise Will go forth, to You, Father resplendent in glory, And to Thee who died for us. (Text: Aleksey Khomyakov (1804-1860)) Sheet music: https://www.universaledition.com/en/Works/Lauda-and-Litany-Five-Russian-songs/P0208577 3. Christ is Risen (after S. Rachmaninov Op. 26 n. 7) 6:55 "Christ is risen" they sing in church. Yet I am sad... my soul is silent. The world is full of blood and tears, and this hymn before the altars sounds so offensive. Were He present among us to see what our glorious age has achieved – how brother hates brother, how base man has become, and if, here within the gleaming church, He were to hear "Christ is risen", what bitter tears He would weep before the crowd! (Text : D. Merezhkovsky (1865-1941)) Sheet music: https://www.universaledition.com/en/Works/Lauda-and-Litany-Five-Russian-songs/P0208577 4. Let us rest (after S. Rachmaninov Op. 26 n. 3) 10:27 We shall rest! We shall hear the angels, We shall see all heaven in diamonds, We shall see how all earthly evil, All our sufferings will drown in mercy, Which will cover the whole earth, And our life will become peaceful, Tender and sweet, like a caress. I believe, I believe… We shall rest… we shall rest. (Text: Anton Chekhov (1860-1904), Uncle Vanya, Act IV) Sheet music: https://www.universaledition.com/en/Works/My-otdokhnjom-We-shall-rest-after-S.-Rachmaninov/P0208618

Bass-baritone / piano: Peter Bannister Recording: Les Arches Musicales, Cluny, France Transept Music Productions, May 2026 1. Пора! / It is time (Op. 14 n. 12) 0:00 The time has come! Show yourself, O Prophet! With the full force of sorrow, With the full force of love, I call out to you! Behold how frail we are, behold how weary, How helpless we are in this agonizing struggle! Now – or never!... Consciousness is dying, Shame is fading, conscience sleeps. Nowhere is there a glimmer, Only nothingness raises its voice... (Semyon Nadson (1862-1887)) 2. Воскрешение Лазаря / The Raising of Lazarus (Op. 34 n. 6) 1:32 O my King and my God! In time you spoke the word of power and the prison of the grave was broken, and Lazarus revived and rose. I pray and the word of power comes, You say to my soul: “Arise” And from the coffin it will arise And appear in the light of your rays And come to life, and its stately praise Will go forth, to You, Father resplendent in glory, And to Thee who died for us. (Text: Aleksey Khomyakov (1804-1860)) 3. Христос воскрес / Christ is Risen (after S. Rachmaninov Op. 26 n. 7) 3:37 "Christ is risen" they sing in church. Yet I am sad... my soul is silent. The world is full of blood and tears, and this hymn before the altars sounds so offensive. Were He present among us to see what our glorious age has achieved – how brother hates brother, how base man has become, and if, here within the gleaming church, He were to hear "Christ is risen", what bitter tears He would weep before the crowd! (Text : D. Merezhkovsky (1865-1941)) 4. Мы отдохнём / Let us rest (Op. 26 n. 3) 10:27 We shall rest! We shall hear the angels, We shall see all heaven in diamonds, We shall see how all earthly evil, All our sufferings will drown in mercy, Which will cover the whole earth, And our life will become peaceful, Tender and sweet, like a caress. I believe, I believe… We shall rest… we shall rest. (Text: Anton Chekhov (1860-1904), Uncle Vanya, Act IV)

Kurtág György (1926 - ) seven excerpts from Játékok Books V/VI Peter Bannister - piano I. Fanfares 0:00 2. Doina 0:44 3. Organ and Bells in memory of Doctor Laszlo Dobszay 3:01 4. Prelude and Choral 4:29 5. A Voice in the Distance (for Alfred Schlee's 80th birthday) 6:16 6. Paean 8:03 7. Les Adieux (in Janáček's Manier) 8:53 Recorded at Les Arches Musicales, Cluny, France, April 2026 Transept Music Productions 2026