When Gabriel Prokofiev first heard virtuoso pianist GéNIA, he was so inspired by her incredible control of the piano and expressive touch that he put aside previous reservations and decided to write a book of piano pieces for her. Initially he tried to veer away from the more traditional piano writing influences that had informed his early musical life (Chopin, Bach, S Prokofiev, Bartok et al). However, as the compositions started to take shape, it became evident that this connection to the past was unavoidable; with GéNIA encouraging Gabriel not to suppress his instincts. Yet this Piano Book is by no means a work of nostalgia; lurking under the surface of what occasionally sound like traditional harmonies and textures are subtle discords, pedal effects, rhythmic distortions, and even techniques that would normally be found in electronic and urban music settings.

Piano Book No. 1 contains all the usual, or should we say ‘unusual’ traits of Gabriel Prokofiev’s compositional style. There is a strong descriptive character in many of the pieces with ‘Cold Wooden Window’ clearly alluding to the shared Russian ancestry of Gabriel and GéNIA. ‘Tough Moves’ combines a hip-hop feel with romantic tremolo effects and ‘Fky House’ employs low bass clusters to work in the manner of drum patterns in dance music. Then ‘Glass swing’ is a 21st century bastardisation of Bach-styled 2-part invention. Gabriel’s method is perhaps comparable to the poly-stylistic writing of Schnikte, and his intuitive approach reveals that modern classical music can be sensitive and unafraid of bridging the gap between seemingly disparate musical worlds.

GéNIA’s subtlety of expression combined with her faultless technique enable her to unite the contrasting elements of Gabriel’s music seamlessly, creating effortless . Both performer and composer are well known for their pioneering attitudes in the contemporary classical world, with GéNIA having previously commissioned over 20 pieces for piano and electronics and developed a multidimensional playing technique called Piano-Yoga®. GéNIA’s UK debut in 2001 was met with critical acclaim and Nonclassical are proud to release their 2nd album together.

Piano Book No. 1 connects more to the classical tradition than previous Nonclassical releases, showing that though they may present classical music in a non-classical way, Nonclassical are still interested in continuing the legacy of classical music and moving it forward. One of the aims of GéNIA and Gabriel’s collaboration was to create an intimate sounding piano album that connected to the classic recordings of the past. This led to 88.2k digital recording of a hand-picked Steinway D-Series piano which was then mastered through analogue tape and vintage valve equipment, without compression.

One of Britain’s most diverse percussionists, Joby Burgess is best known for his work performing new music. He regularly collaborates with artists such as Joanna MacGregor, John Kenny, James Wood, Stewart Copeland, Michael Finnissy, Nitin Sawhney and Sarah Leonard, as well as being a member of Britain’s leading percussion quartet ensemblebash.

Joby own projects explore his passions for virtuosic drumming, movement and electronics; and as a soloist he has made several broadcasts for BBC radio, and given performances across the UK, Europe and the USA. His duo new noise, with oboist Janey Miller, commissions and promotes a challenging new sound, founding it's own record label 'NNL' in 2003; whilst his collective PowerPlant explores hi-octane percussion-led music, with an electronic sound and strong visual performance. Bringing together sound designer Matthew Fairclough, the Elysian Quartet and visual artist Kathy Hinde, PowerPlant has recently become artist in residence at FACT, Liverpool, and will perform as part of the Barbican's Steve Reich festival 'Phases' later this year.

Recent highlights have included premieres of 'Zero Degrees' with Akram Khan and Sidi Labi at Sadlers Wells, London; Karen Francis concerto 'The Earth Wakes...' Queens Hall, Edinburgh; and a two-week residency at the VCA culminating in performances as part of the Melbourne Festival, Australia.

Joby has also worked with the London Sinfonietta, Endymion, Composers Ensemble, Ixion, National Theatre Ensemble, Gemini, ECAT Ensemble, Sculpted Sound, Lontano, Brunel Ensemble, Britten Sinfonia, Continuum Ensemble, Nash Ensemble and the BBC Symphony Orchestra.

Joby's keen interest in education is focused through his work as head of percussion at Junior Trinity College of Music, Greenwich. He is also involved in numerous education events, for organizations such as Dartington International Summer School, Goldsmiths College and the Percussive Arts Society, leading workshops focusing on rhythm, composition and improvisation, often using West African music as the stimulus. Joby studied at the Guildhall School of Music & Drama, London.