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 Bart�k 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.