Alwyn - April Morn

Upload new recordings for evaluation and discussions. Acoustic instruments preferred, although digital is allowed. MIDI or other digitally rendered/manipulated recordings will not be admitted.

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Re: Alwyn - April Morn

Postby pianolady » Thu Sep 27, 2012 2:57 am

That's a neat piece. I like the ending!
I've processed the file, Jonathan, and will put it on the main site tomorrow. One thing though....from now on, please use a compression rate under 192. It helps to save bandwidth.

And I think you should be the one to actually write the bio, since Alwyn is sort of your baby. We'll make the page once we have it. :)
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Re: Alwyn - April Morn

Postby Affinity » Fri Sep 28, 2012 3:34 am

Thanks. I'll keep the 1-3 second silence and the bitrate compression in mind the next time I submit a recording.

As for the Alwyn bio, hmm. :? Will try and get it done the next week.

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Re: Alwyn - April Morn

Postby richard66 » Sat Sep 29, 2012 3:59 pm

I am a bit late, Johathan, but I took time to listen to this! Of the whole set I find this one the lesser one, though you do a good job in playing it. I can understand why you did not submit it with the others, but decided to practise a bit more.

I hope you mean you are kissing this piano goodbye because you have a better one now.

Your recording seems improved too and the piano sounds much more like a piano, which, of course, it is!
Richard Willmer
"Please do not shoot the pianist
He is doing his best."
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Re: Alwyn - April Morn

Postby luissarro » Tue Oct 02, 2012 7:00 pm

hi, Jonathan!

this is a very nice music I haven't heard before. never heard about this Alwyn. good to know.
Luís Sarro

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Re: Alwyn - April Morn

Postby Affinity » Fri Oct 12, 2012 4:32 pm


William Alwyn was born at Northampton in 1905. He studied the flute, the piano, and composition at the Royal Academy of Music, and ultimately taught composition there from 1926 (at the age of 21) to 1955. He wrote a number of orchestral works and film scores, most notably those for Odd Man Out and The Fallen Idol, as well as four operas.

His approach to composition is essentially impressionistic, and he is often identified with the British impressionists, such as Sir Arnold Bax, Frank Bridge, and John Ireland. While not quite as well-known as his peers, he assimilated a wide range of musical idioms, dabbling in serialism (in his Third Symphony), neo-classicism, and jazz, which show through in his compositions.

He died at Suffolk in 1985, and is survived by his second wife, the composer Doreen Carwithen.

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