Malcolm Lipkin belongs to a generation of composers who came to prominence in Britain between the mid-1950s and the mid-1960s. Several of these figures began their careers as a "progressive," exploring the newlydiscovered range of technical and formal innovations before later forging their own relationship with tonality. In Lipkin's case, early influences such as Bartók and Stravinsky were gradually assimilated into an original voice as his scores moved from long, lyrical lines and motor-rhythms to tiny motifs and rhythmic cells in a more dissonant style. It is hoped this release will generate interest in a composer who has steadily forged his own path regardless of passing trends, to create a body of work of impeccable integrity which still largely awaits rediscovery.