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Skempton's harmony is nothing if not explicit, and precise, and he wrings maximum effect from a pared minimum of matter. This music is Irreduciblist. The pieces contain nothing they do not need, and nothing could be subtracted without loss. There's no rhetoric, no bravura display, no smokescreen of Postmodern irony, no false naivety. Skempton composes essences, and they go straight to the heart. * Tempo *

Born in Chester in 1947, Howard Skempton has worked as a composer, accordionist, and music publisher. Renowned for the distinctive clarity of his musical language, he has composed over 300 pieces, many of which are miniatures for solo piano or accordion. His orchestral and instrumental works have been recorded by, among others, the BBC Symphony Orchestra and Ensemble Bash. In recent years, Skempton has concentrated increasingly on writing vocal and choral music; his choral commissions include works for the BBC Singers and the Belfast Philharmonic Society. He is currently an Honorary Professor of Music at De Montfort University.

Air ; Beginner ; Campanella ; Campanella 3 ; Campanella 4 ; Chorale ; Colonnade ; The Durham Strike ; Eirenicon ; Eirenicon 2 ; Eirenicon 3 ; Eirenicon 4 ; Even Tenor ; First Prelude ; Friday's Child ; A Humming Song ; Intermezzo ; Invention ; June 77 ; Maestoso ; Memento ; The Mold Riots ; Of Late ; One for Martha ; One for Molly ; passing fancy ; Piano Piece 1969 ; Piano Piece for Trevor Clarke ; Postlude ; Quavers ; Quavers 2 ; Quavers 3 ; Quavers 5 ; Resolution ; Riding the Thermals ; Ring in the Valiant ; Rumba ; Saltaire Melody ; Seascape ; Second Gentle Melody ; senza licenza ; September Song ; Simple Piano Piece ; Slow Waltz ; Surface Tension 3 ; Swedish Caprice ; Sweet Chariot ; Tender Melody ; Toccata ; Trace ; Two Highland Dances ; una barcarola eccentrica ; Well, well, Cornelius