Prophetic words written by the Canadian-American composer Colin McPhee to his friend Aaron Copland, after McPhee had returned to Bali in 1937 from a hiatus in his eight-year stay there. The Balinese gamelan, with its shimmering sounds and supple swing, became the center of Colin McPhee's life long before the study of musical exotica came into fashion for Western composers. McPhee's work in the East was pioneering, not just in the considerable substance of his Bali-inspired research, writings, and compositions, but in the ecumenical attitude that it helped to inspire about Asian musics and the rich potential they hold for the West. McPhee, together with Henry Cowell, Henry Eichheim, Harry Partch, and a few other Americans of his generation, took decisive steps across Western boundaries and into the whole world of music.

Howard skempton is a deeply serious composer, but his art is modest and makes no self-conscious effort to impress. Precisely because it is so natural the music seems to tell us a lot about the private person behind the notes. The music's dimensions are equally modest. Most of the piano pieces last little more than a minute or two, and they are ideal for domestic music-making, playing for one's own pleasure or to a friend.

Skempton was born in 1947. He studied composition privately with Cornelius Cardew with whom, together with Michael Parsons, he helped to found the Scratch Orchestra in 1969. Since 1974 he has composed vocal, accordion, and percussion pieces for the many concerts he has given with Michael Parsons. His largest work to date has been Chorales which was given its first performance in 1982 by the Merseyside Youth Orchestra.

With his major work, the opera Beatrice Cenci, unperformed apart from extracts, his other opera Der gewaltige Hahnrei not revived professionally since its highly successful première more than 50 years ago, the Second Quartet having to wait 17 years for its première, the remarkably original Kästner settings of 1931 still awaiting a performance, it is clear that it is not only Berthold Goldschmidt's orchestral works that have been ‘undeservedly neglected’.

But of these orchestral works only one can in any sense be said to have entered the repertoire, and that, ironically, is one of Goldschmidt's very earliest works—the Comedy of Errors Overture of 1925. It is his only orchestral score in print. The three concertos—the Cello Concerto (1953), Clarinet Concerto (1954), and Violin Concerto (1951–5)—received a fair number of performances during the 1950'5 (not all of them under Goldschmidt's baton), but have virtually disappeared, along with the inventive Sinfonietta of 1945. Perhaps the least deserving of the obscurity into which they have temporarily fallen are the Ciaconna Sinfonica (1936) and the Mediterranean Songs (1958)—both of them works of real power and substance, and immediately approachable.