Music plays a key role in my new novel.

The main character, Julia, is a pianist – a lapsed one. Doubting her talent and her ability to stay the course, she gives up her studies at the Royal College and gets married. Some years later, with a nine-year-old son and settled provincial life, she’s still playing, but for an audience of one. That’s when we meet her.

Debussy’s La cathédrale engloutie is a powerful point of connection when she meets Dougie, the man who will become her lover.

After their affair begins, Dougie introduces Julia to jazz. The piece he plays for her is Tea for Two by Art Tatum (1933), a dazzling display of virtuoso piano-playing and my favourite in the book.

I’m not going to tell the rest of the story in music, for fear of spoiling the plot. But here are other pieces that feature:

‘Begin the Beguine’ – a lovely version by Artie Shaw and his Orchestra (1938).

Chopin’s ‘Raindrop Prelude’ – I have wonderful memories of my daughter playing this on the piano that used to live in our hall. Here it’s played by Horowitz.

‘Stardust’ by Hoagy Carmichael, my mother’s favourite.

‘Melancholy Baby’, in this version sung by Al Bowlly, who was killed in an air raid.

Rachmaninov – an unspecified piece in the novel, but we might as well imagine it’s the theme to Brief Encounter.

Mozart’s Piano Concerto no. 17 in G, played by Myra Hess, seen and heard here in a short clip from Listen to Britain.

‘Thing-ummy-bob’ – glorious innuendo, sung by Our Gracie.

There’s no link for ‘Asymmetries’ by Bernard (I never got round to giving him a last name, but let’s say it’s ‘Heath’) because Bernard and his music are made up.