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For over seven decades, a powerful piece of British musical heritage has sat in the shadows. But this July, the all-female vocal ensemble Corra Sound is set to change that. In a landmark project, the choir will perform and produce the world-first professional recording of Ruth Gipps’ dramatic cantata, Goblin Market.

The concert will take place on Friday, 3rd July at Holy Trinity Church, Guildford. A pre-concert conversation with Gipps’s daughter-in-law Dr Victoria Rowe and prominent writer and critic Jessica Duchen, offering a rare glimpse into the life of a composer who was once a “formidable force” in a male-dominated industry. The musical programme will also feature settings of Christina Rossetti’s poetry by other notable 20th-century composers, celebrating a threefold celebration of female creativity.

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The landmark recording, partnering with the Great Little Orchestra and Convivium Records, will take place on Saturday 11th July with a release date scheduled for early 2027. Corra Sound has launched a crowdfunding campaign to support the production costs of the performance and recording, inviting the public to contribute to the project, helping to bring this important work to a global audience.

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This venture marks the historic and long-awaited world premiere recording of this powerful masterpiece, rich in themes of temptation, sisterhood, and female solidarity, and will be only the second UK performance of the work in 70 years. The project stands as a threefold celebration of female creativity bringing together the iconic poetry of Christina Rossetti, the masterful and long-overlooked choral writing of Ruth Gipps, and the voices of Corra Sound – an upper voice ensemble dedicated to bringing the works of female composers out of the shadows.

Ruth Gipps was a child prodigy and a prolific composer of five symphonies and numerous concertos, yet she faced significant institutional resistance throughout her career.

“Ruth Gipps was a formidable force – a composer, conductor, and advocate who carved out space for women in a profession that frequently excluded them,” says Dr Amy Bebbington, Corra Sound Founder and Director. “By performing and recording this work, we are highlighting a lineage of female creativity that has been side-lined for too long. Goblin Market is brimming with colour and emotional intensity and demands to be heard.”

“Corra Sound is an outstanding ensemble, brilliantly led,” says Neil Ferris, Director of the BBC Symphony Chorus. “This project forms an important part of their pioneering mission to uncover new repertoire and celebrate the works of often little-known female composers. The work they do is both ground-breaking and utterly essential to our choral music landscape.”

Dr Leah Broad, award-winning British musicologist says: “Gipps was prodigiously gifted and fearlessly determined and yet her impact on British music as both conductor and composer is still yet to be fully realised. This vital project by Corra Sound is a much-needed step towards redressing some of this historical imbalance, and bringing to light an important work in our musical heritage.”

Ruth Gipps’ Daughter-in-law, Dr Victoria Rowe, says “We are so grateful to Corra Sound for their vital role in preserving and championing Gipps’ musical legacy, bringing her work to a wider audience and ensuring that she finally gets the recognition she deserves.”

This ambitious undertaking is a grassroots effort to preserve a musical legacy. Corra Sound has launched a crowdfunding campaign to help cover the production costs of this historic recording.

About Goblin Market
Composed in 1953, Goblin Market is a cantata for two soprano soloists, three-part female chorus, and string orchestra. Based on Christina Rossetti’s 1862 sensuous poem, the work is noted for its lush, late-Romantic harmonies and dramatic storytelling. Despite its exceptional quality, following its premiere in the mid-20th century, Goblin Market fell into obscurity. This is the first time Goblin Market has been performed in the UK for 70 years.

About Ruth Gipps (1921–1999)
A child prodigy who performed at the Wigmore Hall at the age of eight, Ruth Gipps was one of the most prolific British composers of the 20th century. She composed five symphonies, numerous concertos, and choral works and even founded her own orchestra so that her works could be performed. Despite her brilliance, she faced significant gender discrimination throughout her career, particularly as a female conductor and composer in a male-dominated classical music world. While a recognized prodigy, her career was marked by missed opportunities, institutional resistance, and critical marginalization.

    Ruth Gipps composing at her Steinway piano
    Goblin Market score
    Ruth Gipps
    Corra Sound
    Amy Bebbington

    (source: press release)

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    “one of the most brilliant performers of his era anywhere in the world”

    Professor Colin Lawson CBE, Director Emeritus, Royal College of Music

    Gervase de Peyer as I Knew Him is an intimate portrait of renowned classical clarinettist Gervase de Peyer by his wife and partner of forty years, published to mark the centenary of his birth. A musician’s musician, Gervase was admired by his peers for extending the range of the clarinet as a solo instrument, inspiring many acclaimed classical composers to write with his tone in mind, and for the musical brilliance and flair that spurred his international career, including as principal clarinet of the London Symphony Orchestra and a founding member of the Chamber Music Society of Lincoln Center.

    Praise for Gervase de Peyer:

    “It’s a real delight to have within these pages so many fascinating insights into the life of one of the most distinguished alumni of the Royal College of Music. Gervase de Peyer was an inspiration to many generations of clarinettists and his influence extended well beyond his own instrument as one of the most brilliant performers of his era anywhere in the world.”

    Professor Colin Lawson CBE, Director Emeritus, Royal College of Music

    “We’ve lost the man who gave us this utterly sublime clarinet tone….” Classic FM

    “Clarinettist who had Aaron Copland, Paul Hindemith and Francis Poulenc queuing up to have their works performed by him.” The Times

    “…an outstanding soloist and chamber musician…[who] inspired several composers to write new works….” The Guardian

    “Acclaimed as the most recorded clarinet soloist in the world….” The Independent

    Review copies (PDF and physical book) available on request

    For further press information, please contact Frances Wilson frances_wilson66@live.com

    GERVASE DE PEYER As I Knew Him is published in the UK by Kahn & Averill. Find out more

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    Guest post by Frances Jones

    In the days before self-service machines, when library books were issued by hand and date-stamped, I would feel sorry when I opened a book to see it last stamped more than a decade before. I thought of the volume standing slightly lop-sided on the shelf, waiting for a person to stop and take it home. I’ve been feeling a similar way recently, as I take down off my shelf music that I haven’t looked at for years. One such collection is Francis Poulenc’s Three Novelettes, speckled with a scattering of pencil markings and an old PIN for a bank card. So last year I sat down and learned the first of the Novelettes, playing it in an informal concert for my students (they are very forgiving of my significant lapse in regular practice).

    Even as I discover more of Poulenc’s piano music, Novelette No. 1 remains one of my favourite works by this French composer. Written in 1927, when Poulenc was about 28, it’s a joyful piece and full of character. The opening melody is serenely beautiful, and it always gives me a sense of calm. Enjoy this for its own sake, it’s saying; just listen, and stop rushing around. It floats over an arpeggiated bassline in C major and although there are discords, they are so subtle as to pass almost unnoticed. There’s then a minor section, where the discordancy becomes more obvious, but it’s over with quickly and after a lyrical passage we’re into a bawdy dance; I can just imagine drinkers stomping round the bar in days gone by. A reflective passage follows and we head away from the party back into the peaceful serenity of the opening theme, with the thick chords near the end sounding bell-like in their brightness.

    Novelette No. 2 is, on first hearing, very different. It brings to mind, for me, a company of elves, cavorting around a woodland fire. The upbeat tempo, staccato articulation and use of the piano’s range helps conjure up this image. The melody is so dance-like, but light and quick, suggesting something other than even the most agile of human dancers. Introduced to this revelry is a stately tune that threatens to calm the festivities, but it lasts merely a few bars before tumbling down and jostling with the opening pixie theme, eventually succumbing in a ff glissando. The opening music returns, and the elves dance away into the night, sans relentir.

    There is a third Novelette, which was written many years later, in 1959. For me, it feels like a separate piece; it’s based on a theme by Manuel de Falla, and is beautiful, yes, but also nostalgic and reflective with a tinge of melancholy. To me, it’s another example of Poulenc seeming to make the task of composition so easy. The melody soars above the bass and then appears in the middle of the piano before flying up again and ending at peace, or so I like to think.

    I was introduced to Poulenc’s music through the ABRSM; Improvisation No 13 by Francis Poulenc was on the Grade 8 piano list around the turn of the millennium and I still have the collection. Written in 1958, this Improvisation is wistful and yearning; a composer looking back, perhaps. Poulenc had a playful nature, but there was a deeply serious side to his character, which is evident in so much of his work (his piano pieces are just a small part of his output). Poulenc’s writing is so expressive, and although there’s a melancholy air scattered across his piano music, somehow I always find it uplifting (with the possible exception of Mélancolie itself, written in 1945). It’s the ability to seemingly pluck a melody out of the air that I love; his writing is both graceful and perfectly formed, and with bursts of humour that show a different side of his personality.

    Replaying the Novelettes has spurred me on to find more of Poulenc’s piano music. I love the first Nocturne but haven’t looked properly at the other seven, nor learnt the Impromptus. Despite the fact that attempting any of the above will be a challenge, I can’t wait.

    Frances Jones read music at York University followed by a PGCE at Cambridge. She teaches piano in SW London.

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    Pianist Anastasiya Bazhenova explores the fragility of the human condition in her debut album

    In her debut recording, pianist Anastasiya Bazhenova presents a programme that goes beyond a simple chronological survey of keyboard music. From Mendelssohn to Madness is not just about contrasting different historical periods; it is a deep exploration of the human condition and how our inner worlds change when external stability starts to fade.

    For me, the tension is already present in the Mendelssohn. His music often sounds lyrical and balanced, but there is also something fragile in it, as if the stability could break at any moment. The Fantasia in F-sharp minor begins to open up that tension — it is more restless, more searching. And by the time we reach Prokofiev, the tension is no longer hidden. It becomes direct, physical, almost violent. So the “madness” in the title is not only the destination. It is something that slowly reveals itself along the journey.

    Anastasiya Bazhenova (interview with Indie Boulevard magazine)

    The album begins within the world of Felix Mendelssohn Bartholdy, a composer whose music hails from an era where form offered a sense of reassurance. In his Songs Without Words, Bazhenova uncovers a serene human voice that communicates with the confidence that it can still be heard without exertion. During this period, qualities such as clarity, proportion, and beauty were not merely ornamental; they were fundamental tools for understanding both oneself and reality.

    However, even within this transparent beauty, a subtle tension begins to emerge. In the Fantasia in F-sharp minor, this balance is no longer an automatic state but a conscious effort. Here, the music becomes a battleground where light and darkness clash, symbolising an inner struggle to preserve wholeness against forces that seek to dismantle it. For Mendelssohn, form serves as a final battleground against chaos.

    The narrative takes a sudden turn with Sergej Prokofiev’s Sixth Sonata, which opens the space beyond the rupture of the old order. This is music for a world that no longer promises stability—a world where the pace of change has quickened beyond our ability to comprehend.

    Within this sonata, intense emotional states coexist in a raw, exposed form: fear, fury, despair, irony, and paranoia. The music forsakes the pursuit of traditional harmony, opting instead to record reality in its most unfiltered state. As the album moves from Mendelssohn to Prokofiev, the listener undergoes a inward shift: a transition from trusting in form to living without guarantees, and from viewing beauty as a support to acknowledging the need to live without it.

    Rather than viewing these pieces as a collection of separate works, Bazhenova considers the programme as a single internal trajectory. The album does not seek to resolve the tensions it presents or provide simple explanations. Instead, it allows the music to unfold as a continuous process – a musical narrative of a human being who keeps feeling, thinking, and searching for meaning even when the structures of the past have broken down.

    We often think of madness as something extreme or pathological, but in reality it is much closer to ordinary human experience. It can grow out of fear, obsession, loneliness, or simply from the unbearable tension between what we feel inside and what the world expects from us. In that sense, “madness” in this album is not something distant or theatrical. It is something that lives quietly inside many people. Music simply gives it a voice.

    Anastasiya Bazhenova

    From Mendelssohn to Madness is released on CD and streaming 1 April 2026 on the Etcetera Records label

    Anastasiya Bazhenova performs in London at the 1901 Arts Club, a delightful salon-style concert venue, on 24th April. Details here https://www.1901artsclub.com/24-apr-2026-from-mendelssohn-to-madness.html

    Anastasiya Bazhenova pianist

    Photo credits Torgeir Rørvik