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This is not another rock album, progressive, hard or punk: it is about rocks. Now this gives me a problem. I can decline second-declension Latin nouns and muddle through the history of the 1745 Jacobite Rebellion and the Industrial Revolution, but geology? Absolutely nothing. I have climbed mountains without once wondering what they are made of. Yet such lack of technical knowledge should not put the listener off this remarkable disc, if like me they are clueless about, or indifferent to, that noble science.

I am beholden to the liner notes, the advertising brief, and private correspondence with Edward Cowie in these elucidations.

The initial point to make in coming to terms with these piano sonatas is that they are “both an independent exploration and part of a greater whole, mirroring the classical sonata cycle in an ambitious and deeply evocative form”. This means each work can be heard independently, or they can be presented as a cycle, in the order given on the track listing, as three “classical” movements. I suggest that they be heard individually at first, but in the recital room a complete performance, 85 minutes, would be the ideal way of presenting these Sonatas. It will certainly tax the stamina of both pianist and attendee.

It is important to consider Cowie’s thought processes for each sonata, without allowing it to cause confusion and detract from the listening experience. He has often used natural phenomena as an inspiration for his art. He has studied ornithology, incorporating birdsong into his pieces. His scientific background training as a physicist also influences his art, leading to essays inspired by particle physics and by environment. Cowie is also an accomplished painter and draughtsman. He uses visual art as a preparatory tool, often sketching landscapes and natural forms as a mode of pre-composition. His interdisciplinary approach blends music, science and visual art into a unique creative process.

Cowie’s Rock Music is a remarkable piano composition that transcends traditional musical themes, drawing its inspiration directly from the fundamental physical processes that shape our planet. This ambitious structure, presented as a sequence of three sonatas, serves as a meditation on geology, translating the forces and transformations of the Earth into a compelling auditory experience.

For those less familiar with geological terms, here are the core definitions that underpin Cowie’s work.

1. Igneous: Refers to rock formed through the cooling and solidification of molten magma (below the Earth’s surface) or lava (on the surface).
2. Sedimentary: Describes layered rock formed over time from compressed mineral and organic material.
3. Metamorphic: Denotes rock that has been transformed by intense heat, pressure or mineral changes deep within the Earth’s crust.

With these definitions in mind, the three movements (or sonatas) of Rock Music vividly portray their geological counterparts. With the help of the liner notes, some brief descriptions will be of interest.

Sonata No.1 Igneous
This lengthy sonata explodes with fiery, wild energy, just like a volcanic eruption. Its rhythms are unstable, surging and then briefly pausing, showing the power of lava and volcanoes. Very much stop/start.

Sonata No.2 Sedimentary
This unfolds slowly and patiently, like the gradual layering of rock over vast aeons. It moves between quiet, gentle sections and more dramatic periods, revealing nature’s slow but powerful changes.

Sonata No.3 Metamorphic
The final sonata is the most expansive and complex. It takes themes from the earlier movements and transforms them with a series of twelve “variations” showing how intense heat and pressure reshape rock. This creates a powerful, unified ending that reflects concentrated changes in nature and music.

Let me make two points. I asked Edward Cowie if parts of this massive trilogy relied on improvisation or aleatory procedures. He assured me that every note was written out “painstakingly” – a huge achievement. Secondly, the listener will wonder what the Sonatas sound like. I suggest that there are hat tips to Beethoven, Ravel, Messiaen and Sorabji. And just occasionally, unless I am mistaken, there is a nod towards the rock music of my (and his) generation.

Cowie devised the liner notes. They give a good, fathomable introduction to this intricate cycle. He also provides an Afterword which explains his reaction to hearing the recording. The final part of the booklet features Roderick Chadwick’s Note on the Recording. It includes a discussion with Cowie, a bit technical and prolix at times. There are biographical details of the composer and performer. The beautiful CD cover is Rock Music by Edward’s wife, Heather Cowie.

The recording is second to none. Every nuance of sound is clear and bright, from the most subtle chord to the thumping explosions and extended piano techniques. Although the listener has nothing to compare the performance with, the sheer virtuosity of these three sonatas is palpable. There is beauty here, as well as passion, energy and ferocity.