Alice In Wonderland is a score in three main sections inspired by a short film of the same name from 1903 by Hepworth and Stow. For Flute Clarinet Violin Cello and Piano. Composed and published 2015. Duration: 9' Written for The New Music Players and Orchestra of Sound and Light for concerts in London and Sussex with funding support from The RVW Trust and Arts Council England. Premiere: Rowland Sutherland (Flute) Fiona Cross (Clarinet) Katie Stillman (Violin) Michael Atkinson (Cello) Richard Casey (Piano) University of Sussex 24th September 2015. Alice In Wonderland is a score in three main sections inspired by a short film of the same name from 1903 by Hepworth and Stow. For Flute Clarinet Violin Cello and Piano. Composed and published 2015. Duration: 9' Written for The New Music Players and Orchestra of Sound and Light for concerts in London and Sussex with funding support from The RVW Trust and Arts Council England. Premiere: Rowland Sutherland (Flute) Fiona Cross (Clarinet) Katie Stillman (Violin) Michael Atkinson (Cello) Richard Casey (Piano) University of Sussex 24th September 2015.

Songs from The Solitary Dreamer-For solo Soprano and Orchestra. First performed and recorded by Raquel Camarinha (Soprano) and the Gulbenkian Orchestra conducted by David Alan Miller at the Gulbenkian Auditorium in June 2012. For solo Soprano and Orchestra. First performed and recorded by Raquel Camarinha (Soprano) and the Gulbenkian Orchestra conducted by David Alan Miller at the Gulbenkian Auditorium in June 2012.

15th century lyric 'I syng of a mayden'

Fallen

Flint

Ebor Excursions

'..an amaranth from the shade..'

Three Pictures of Elmet

Fantasy on the notes Acade

Strike

Brighton - Symphony Of A City

Rings Of Jade

Strata

Our Father Whose Creative Will

Haven Of Mysteries String Quintet Score

When The Flame Dies

for Wind Orchestra

SAXTON ROBERT SHAKESPEARE SCENES STUDY SCORE

Tombeau – which takes its title from the central elegy of the work – was composed 1966-69. Its form is a series of fairly specific technical studies interspersed with variations. The introduction provides a sort of ‘trailer’ in which each phrase of the theme is punctuated by a brief quote from the ensuing studies (heard in reverse order). This scheme is balanced by that of the finale which is also punctuated by short ‘flashbacks’. Tombeau was written as a tribute to certain composers for the piano notably Schumann and Szymanovsky and to a style of playing that has now become almost ‘historic’. It is also a tribute to our beloved masters many of them obscure who made usmusicians. It is therefore in many senses a retrospective work the last of a phase undertaken just before a fairly drastic re-evaluation of techniques ideas and intentions. It is dedicated to Stephen Kovacevich who commissioned it and gave its first performance on the BBC Third Programme and subsequently at Dartington Hall Summer School. Tombeau – which takes its title from the central elegy of the work – was composed 1966-69. Its form is a series of fairly specific technical studies interspersed with variations. The introduction provides a sortof ‘trailer’ in which each phrase of the theme is punctuated by a brief quote from the ensuing studies (heard in reverse order). This scheme is balanced by that of the finale which is also punctuated by short ‘flashbacks’.Tombeau was written as a tribute to certain composers for the piano notably Schumann and Szymanovsky and to a style of playing that has now become almost ‘historic’. It is also a tribute to our beloved masters many of themobscure who made us musicians. It is therefore in many senses a retrospective work the last of a phase undertaken just before a fairly drastic re-evaluation of techniques ideas and intentions. It is dedicated to StephenKovacevich who commissioned it and gave its first performance on the BBC Third Programme and subsequently at Dartington Hall Summer School.

Commissioned by Susan Lawrence. First performance: Purcell Room 1986. Commissioned by Susan Lawrence. First performance: Purcell Room 1986.