Chanson Italienne Op39 No15

From Don Juan

Two Short Pieces For Oboe And Piano

Big Band Jazz No. 3

Fridays Saturdays (Parts)

Chester Recorder Series No.3

Tenebrae Responsories No.15

Magnificat and Nunc Dimittis (Eboracum)

Mortify Us By Thy Grace (Organ)

6 Male Voices Aatbarbarb

3 Concert Studies For Organ

For unaccompanied SSATTBB and echo choir SSAA. This work was written in memory of my brother Roger. The five short phrases for choir and echo-choir at once noble and solemn tender and mystical should echo around agenerous acoustic. The echo choir should be placed high in a gallery as far as possible from the main choir.

Tu Ne Sais Pas is a work by John Tavener for Medium Voice Timpani and Strings. The work sets words by the French poet and philosopher Jean Biès and from Islamic and Hindu sources. This is the Vocal Score and lasts around 19 minutes. Commissioned by Maestro Ignat Solzhenitsyn for The Chamber Orchestra of Philadelphia it was first performed on 20th March 2009 at the Perelman Theater The Kimmel Center for the Performing Arts Philadelphia by Katherine Pracht (mezzo-soprano) and The Chamber Orchestra of Philadelphia conducted by Ignat Solzhenitsyn. Two poems by the contemporary French poet Jean Biès form the basis of the work. Two traditional Islamic and Hindu textshave been inserted into the second poem creating a powerful composition that is subtitled 'A Metaphysical Paradox'. Tu Ne Sais Pas is a work by John Tavener for Medium Voice Timpani and Strings. The work sets words by the French poet and philosopher Jean Biès and from Islamic and Hindu sources. This is the Vocal Score and lasts around 19 minutes. Commissioned by Maestro Ignat Solzhenitsyn for The Chamber Orchestra of Philadelphia it was first performed on 20th March 2009 at the Perelman Theater The KimmelCenter for the Performing Arts Philadelphia by Katherine Pracht (mezzo-soprano) and The Chamber Orchestra of Philadelphia conducted by Ignat Solzhenitsyn. Two poems by the contemporary French poet Jean Biès form thebasis of the work. Two traditional Islamic and Hindu texts have been inserted into the second poem creating a powerful composition that is subtitled 'A Metaphysical Paradox'.

On The Fiddle consists of three pieces derived from scores to three Peter Greenaway films. The first piece Full Fathom Five is a version of the Shakespeare song setting made for Prospero'sBooks (1990). The second Angelfish Decay is an arrangement of an arrangement: the music for the speeded up time lapse decaying animal sequences in A Zed And Two Noughts (1985) was written for twoviolins and a harpsichord. This was subsequently 'reduced' to a violin solo for Zoo Caprices (1986). For On The Fiddle a piano part has been added. The final piece Miserere Paraphrase was writtenfor use in The Cook The Thief His Wife And Her Lover (1989) and is a transcription of Nyman's setting of the 'Miserere' text (Psalm 51) sung in the film by a boy soprano and mixed chorus. This version for celloand piano written in 1997. Duration c.15 mins.

William Byrd (c. 1540-1623) was an English renaissance composer who wrote several well-known works in both the Catholic and Anglican traditions many of which are still highly popular today. He studied under ThomasTallis at the Chapel Royal before becoming organist and master of the Choristers at Lincoln. He later returned to the Chapel Royal as Gentleman and Organist. Ave Verum (“Hail True Body”) is a hymn to theBlessed Sacrament for SATB choir. This edition is printed with the original Latin text and a keyboard reduction for rehearsal or accompaniment. Ideal as a short anthem for a choir of any size.

To see the summer sky for Violin and Viola falls into four movements. The first movement opens with the two instruments sounding almost as one playing very high glassy harmonics. Gradually an expressive viola solo emerges withboth instruments descending to their lower ranges. A livelier quasi scherzando solo for violin accompanied by viola pedal notes leads to a chorale like passage the violin at the top of its range whilst the viola is at itslowest. The movement ends with the two instruments coming together once again on a unison Bb and fades away almost as it has begun but this time in the husky lower registers. The second movement is much faster and openswith a downward flurry for both instruments. A continuous pizzicato line for viola is interrupted by more violent passages in the violin. The two instruments come together in a dance-like passage before the roles are reversed.Finally an ecstatic melody surfaces in the viola and is later continued in the violin before the movement closes with the spiky figures of its opening the two instruments ending in unison. The third movement encompasses isthe most delicate and still music of the piece. After a very tranquil opening an expressive violin melody is accompanied by a gentle rocking figure in the viola. Tentative at first intensity and speed gather until the violinreaches stratospheric heights. Both of the instruments play at the extremes of their registers before moving to common ground for a more lively textural passage. This is followed by a passionate reminder of the movement’s opening gradually fading away to nothing. The piece ends with a Moto Perpetuo. The instruments begin by dovetailing a single line which develops into two strands before a more violent section appears punctuated by strident doublestops. Both instruments have slightly manic solo episodes before the movement quickly dies away in the single line of its opening

Work for Soprano and Piano. First performed by Jane Manning and John McCabe In 1981. Work for Soprano and Piano. First performed by Jane Manning and John McCabe In 1981.

Arranged by the composer for sopranos (divisi) and piano. Arranged by the composer for sopranos (divisi) and piano.

SATB arrangement of this haunting sacred choral work. Includes a Piano part for rehearsal purposes.

Aure is a work for Violin and Cello by Kaija Saariaho . Originally composed for Violin and Viola this version was created in 2015 and was originally an homage to Henri Dutilleux's 95th birthday inspiredby a phrase from one of his compositions. Lasting around 4 minutes these are the Parts.