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This week Donald Macleod is joined by the award-winning author Leah Broad to explore the story of the British composer Dorothy Howell, who shot to fame aged 21 after the triumphant premiere of her orchestral work ‘Lamia’ at the Proms. By the mid-1920s she was regarded as one of the leading women composers of the day, performing in prestigious venues across the UK and regularly appearing on radio programmes in the earliest days of broadcasting. But she faced challenges from the 1930s onwards that left her disillusioned, and by the end of her life she wanted to destroy all but a handful of her works. Luckily family intervened, but even so Howell’s music almost disappeared from view - until recently.

Today Donald Macleod and Leah Broad look at why the 1930s brought challenging times for Howell. With dwindling radio broadcasts and fewer performances of her work, she moved out of London to be with her mother. Travelling abroad always provided inspiration for new works, and the time she spent in Egypt helped her to realise what was most important to her: God, music and her family.

Mazurka
Simon Callaghan, piano
Hiroaki Takenouchi, piano

Two Pieces for Muted Strings
Ö÷²¥´óÐã Symphony Orchestra
Michael Collins, conductor

Puppydog’s Tales
Hiroaki Takenouchi, piano

Prelude 1 in F minor, Prelude 2 in C, Prelude 3 in A flat
Hiroaki Takenouchi, piano

Recuerdos Preciosos No 1 and 2
Simon Callaghan, piano
Hiroaki Takenouchi, piano

The Rock Overture
Ö÷²¥´óÐã Concert Orchestra
Rebecca Miller, conductor