The first disc contains works for two pianos or piano duet. In the 1930s Scott had a recital partnership with the pianist Esther Fisher and provided works for them to play. He also made arrangements of Bach, five of which are included here. These are really re-compositions, attractively and sometimes amusingly done – you can't kill Bach – and should be a hit in these sparkling performances.
The first CD opens with one of Scott's catchiest tunes, Russian Fair, in its two-piano version, followed by the extended but impressive Theme andVariations (1935). The Three Symphonic Dances from the turn of the century were arranged by Percy Grainger in 1920. He and Scott were students together at Frankfurt; Scott often dedicated pieces to him, and this is a thoroughly idiomatic exploitation of the two-piano medium.
The piano solo CD contains four unpublished pieces, all worth having, although the Ballade is a Brahmsian student work. There's evidence to support the description of early Scott as 'the English Debussy' and the Inclination à la danse (1922) is enticingly Scriabinesque; but Scott developed his own way with melody and harmony that we can now appreciate in more detail than ever before.
The two picturesque suites, Egypt and Karma, are piano solo versions of ballet scores, both with occult connections. Good recording and presentation again: nobody could do better for Scott.

The revival of Cyril Scott's large output of piano music continues with two more fine CDs thanks to the inspired dedication of Canadian pianist Leslie De'Ath. The first CD opens with one of Scott's catchiest tunes, Russian Fair, in its two-piano version, followed by the extended but impressive Theme and Variations (1935). The Three Symphonic Dances from the turn of the century were arranged by Percy Grainger in 1920.