Aaron Holloway-Nahum's The Faultlines Of Prayer II for Alto Flute Clarinet Violin Cello and Harp. Composed in 2012 for the players of Ensemble Kovergence. Duration: c. 5 minutes

Cheryl Frances-Hoad's Memoria for Oboe Violin Viola Cello and Piano. Cheryl Frances-Hoad's Memoria for Oboe Violin Viola Cello and Piano.

Sally Beamish's Haunted for Piano Trio. Based on the idea of film music Haunted House creates a creepy sinister atmosphere. - Sally Beamish Commissioned with admiration by Andrew Keener

Piers Hellawell's Hall Of Mirrors for Piano Quartet. Hall Of Mirrors was my first contribution to the Schubert Ensemble's unique initiative to bring practicable chamber music to young string players and pianists. It was written in summer of 1998 in the wake of my 'full-scale' piano quartet The Building Of Curves itself a commission from the Schubert Ensemble and was first performed at the Dartington Summer School. Hall Of Mirrors is also scored for piano quartet although the viola part is playable by a second violin and is thus scored in the treble clef. At the suggestion of the Ensemble I sought to provide an analogue of the larger work ascaled-down expression that used materials clearly related to its parent. I believe that the success of this project relies in large part on its new pieces being genuinely representative of their composers rather than mere exercises that provide a product. Hall Of Mirrors therefore tries to establish a similarly unsettled atmosphere to that of the second movement of The Building of Curves and it uses the same open-string C/D ostinato for cello and nightmarish free glissandi for violin - both materials that can be impressively brought off by a player of limited virtuosity! Hall Of Mirrors was generously commissioned by Jane Ferguson. Its title indicates a reshaping of some features of the larger edifice The Building of Curves. - Piers Hellawell

Cheryl Frances-Hoad's Mazurka for Violin and Piano accompaniment. Cheryl Frances-Hoad's Mazurka for Violin and Piano accompaniment.

Cheryl Frances-Hoad's The Madness Industry for Brass Quintet. Commissioned in 2012 by Onyx Brass generously supported by the PRS for Music Foundation's 'Woman Make Music' scheme and the RVW Trust. Duration: 12 minutes

Cheryl Frances-Hoad's Snowwoman for Violin. Cheryl Frances-Hoad's Snowwoman for Violin.

Cheryl Frances-Hoad's Amy's Last Drive for Soloists Womens Choir and Orchestra. Duration: 2 hours

Vocal score for Cheryl Frances-Hoad's Magnificat & Nunc Dimittis for Mixed choir (SATB) a cappella. Vocal score for Cheryl Frances-Hoad's Magnificat & Nunc Dimittis for Mixed choir (SATB) a cappella.

Wendy Hiscocks' Kumas Dziesma for Piano Quartet.

Chery Frances-Hoad's The Glory Tree for Mixed Ensemble. Duration: 15 minutes

Cheryl Frances-Hoad's My Day In Hell for String Quartet. Cheryl Frances-Hoad's My Day In Hell for String Quartet.

Cheryl Frances-Hoad 's Bouleumata for solo Clarinet. 'Shortly before writing this piece I reached the final of a competition to compose the music for the Cambridge Greek Play which happened to be Medea that year. Although I didn't end up winning Euripides' play stunned me with its depiction of Medea a woman who kills her two children to spite her husband Jason (who has just left her for a Corinthian princess). This piece was inspired by the wildly contrasting emotions that Medea experiences during a monologue immediately preceding the double-murder: that she can't possibly go through with it but thatshe must in order to punish her enemies. In one passage she says I understand that what I am about to do is wrong but my thumos (emotion) has vanquished my bouleumata (ability to deliberate)'.' - Cheryl Frances-Hoad

Cheryl Frances-Hoad 's One Life Stand for Mezzo-Soprano with Piano accompaninment sets a text by Sophie Hannah . 'The idea for One Life Stand originated from a discussion over lunch in Cambridge with my friend Jennifer Johnston. She was bemoaning the fact that although she loved to sing Schumann's Frauen-Liebe und Leben (Women's Lives and Loves) and was always being asked to do so she did find Chamisso's words rather outdated and suggested I write an updated version. I jumped at the chance and by pudding we were already thinking about whose poetry I might set. A few weekslater during a meeting with Chris Gribble (Chief Executive of Writers' Centre Norwich) he told us that the crime writer and poet Sophie Hannah had recently moved to Cambridge and had many suitable poems. It wasn't long before we all met up for lunch and began discussing the contenders for a series of poems that might portray a modern woman's life and loves. To begin with I had a list of about twenty five poems that I would have liked to set taken from four of Sophie's poetry collections ( The Hero and the Girl Next Door (1995) Hotels like Houses (1996) First of the Last Chances (2003) and Pessimism for Beginners (2007: all published by Carcanet Press) but the final eight in my view come together to form a narrative that is clear yet open to interpretation and contains the whole gamut of complex emotions (both serious and humorous) that made the poems such a dream to set to music. Although the idea for the work originated as a reaction to Chamisso's poetry in the course of composing the cycle I found much inspiration from Schumann's song cycle and many of the songs in my work are based very closely on either the harmony and/or the motivic material of what in my view is the corresponding song in Frauen-Liebe und Leben .' - Cheryl Frances-Hoad

Cheryl Frances-Hoad's Unto The Rainbow for Trumpet Piano and Electronics. Unto the Rainbow was commissioned by John Rubinstein (Master of the Worshipful Company of Cordwainers) and premiered on the 21st April 2016 by Brant Tilds (flugelhorn) and Cheryl Frances-Hoad (piano and electronics) at the 'Corwainers Extravanganza for Blind People'. The charitable event was a 'festival of touch voice colour and Shakespeare' and its purpose was to raise awareness of the needs of blind and visually impaired people in the community.

Cheryl Frances-Hoad's The Prophecy for Cello and Piano. Duration: 15 minutes

Cheryl Frances-Hoad's Nunc Dimittis for 21 solo voices (7S 5A 4T 5B). Cheryl Frances-Hoad's Nunc Dimittis for 21 solo voices (7S 5A 4T 5B).

David Matthews's Y Deryn Du (The Blackbird) for Piano Quartet. The Blackbird for piano quartet was written in 1998 and is based on the Welsh folksong Y Deryn Du. In the song the blackbird gives advice to a young man in search of a wife. After rejecting the first three of the bird's suggestions he willingly accepts the fourth the bailiff's daughter. So in this instrumental setting the tune appears appropriately four times: on the viola then the cello then the violin and piano in canon. - David Matthews Commission made possible by Mrs Elizabeth Salmon.

Cheryl Frances-Hoad's The Ogre Lover for String Trio (Vl Va Vc). Composed in 2007. Duration: 9 minutes

Elena Firsova's Frozen Time for Piano Quartet. This was commissioned by the Schubert Ensemble for their project to create contemporary repertoire for teenage children hence quite a simple texture is used. It was written in 1999 and the premiere was given by pupils of the Purcell School in the Wigmore Hall in May that year. The musical material first appeared in 1996 with the short piano piece Evening Music. However I was so preoccupied with this material that soon after I made an orchestral version of the piece. I then composed the Chamber Concerto No.5 for cello and strings based on the same musical idea but with a completely different development. When Ireceived the commission for a Piano Quartet I returned again to this idea for I decided that its quasi-romantic material treated in a contemporary manner would be ideal for the purpose and could ease the young musician’s path to contemporary music. - Elena Firsova Commission made possible by Bain & Co.