SWEET SOUFFLÉ (score & parts)

Sweet Soufflé is a straightforwardly fun piece of light music, and would make an ideal recital encore. It needs to be fast enough to have momentum, but flexible enough to breathe (metaphorically and literally). Play with a smile! A recording of this work can be found on ‘Prevailing Winds’ - a CD of Robin’s wind and chamber works on the Divine Art label (DDA 25194). Robin Stevens was born in 1958 in Newport, South Wales. His mother was the pianist and accompanist, Gillian Butterworth, and his father was a keen amateur music-lover, with a fine baritone voice.
Robin began playing the cello aged 8, and the piano aged 12, and composing was a gentle undercurrent throughout his teenaged years. At 16 Robin spent an enjoyable couple of years at Dartington College in Devon, where he played an abundance of chamber music, and also performed the Elgar Cello Concerto, complete, with the College Orchestra. He then went on to study for four years in Manchester, combining a University Music degree with the Undergraduate Course at the newly-formed Royal Northern College of Music. Still, at this stage, Robin was a first-study cellist, but by the end of his time in Manchester it became clear that original composition was where his musical heart lay.
A distinctive feature of Robin's compositional output is his stylistic range - partly due to his years of teaching music in a Yorkshire Comprehensive School, knowing what type of musical material really works at a grass roots level - and also down to several decades of helping lead worship in a local Anglican Church, as singer, pianist, guitarist and conductor. Simultaneously, Robin has had the privilege of a rigorous academic training as a composer, which has opened up a wealth of additional resources to draw upon.
Robin's wind music is representative of his work as a whole: an intermeshing of heartfelt lyricism, tongue-in-cheek humour and compositional sophistication, in which cleverness is never allowed to become an end in itself, but the urgent engagement of players and listeners in a mutually fulfilling expressive encounter remains centre-stage.

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