''Serious' stuff first, and it comes from Oxford University Press in the shape of two eccentric, resourceful contemporary works based loosely on well-known tunes, and they merit thorough study and concert performance. Richard Causton, in his early thirties, writes an engaging, complex meditation that drip feeds its secret. The title Non mi comporto male is a clue but the listener should simply be allowed to take delight in a gradual realisation of its
punning point. It'll need advanced technique and good rhythmic control if the effect is to work . . . I enjoyed the sheer cheeky chic and compositional cunning of both these OUP submission.' John York Piano March 04 .' John York Piano March 04 'This is a wonderfully witty piece, permeated throughout (once you know) with subtle echoes of Fats Waller's song, which only emerges fully n the last section. Re-listening to Waller's version, I could then hear the shape of some of his 'riffs' in Causton's flights of semis; the swung rhythms and surprising E flat resolutions made more sense. However, this is not just another 'jazzy' arrangement, but a sophisticated and challenging pieces for professional pianists.
The writing is rhythmically complex and there is an imaginative variety in the use of piano textures (middle pedal is essential) but no virtuoso demands. Written in 1993 and lasting about 7 minutes this could be an ideal 20th century piece for competitions and concerts.' Pamela Lidiard Piano
Professional April 2004 Non mi comporto male for piano solo hinges on a hidden melody only gradually revealed after much meandering through jazzy material. Again there are some Gershwin-like harmonies and numerous other pop, blues, jazz and classical styles, sometimes in opposition. * Ian Lace, MuscWeb, December 2016 *show more