For Cello and Piano commissioned by Ralph Kirshbaum for the Manchester International Cello Festival. First performed by Alban Gerhardy and Simon Parkin Manchester 3rd May 1998. For Cello and Piano commissioned by Ralph Kirshbaum for the Manchester International Cello Festival. First performed by Alban Gerhardy and Simon Parkin Manchester 3rd May 1998.

For solo Piano. Published in 2001. First performed by Ian Pace University of York 18th June 2002. For solo Piano. Published in 2001. First performed by Ian Pace University of York 18th June 2002.

For string quartet. Published 1973. First performance: Tokyo 1973 Masao Kawasaki Hiroyuki Yamaguchi Toru Yasunaga Hakuro Mori. For string quartet. Published 1973. First performance: Tokyo 1973 Masao Kawasaki Hiroyuki Yamaguchi Toru Yasunaga Hakuro Mori.

For solo Viola. Published in 2002. First performed by Joel Hunter at the Goldberg Contemporary Festival Manchester 16th February 2002. For solo Viola. Published in 2002. First performed by Joel Hunter at the Goldberg Contemporary Festival Manchester 16th February 2002.

For two Bass Clarinets. Published in 1995. Commissioned by Das Klarinettenduo Zelinsky/Smeyers. First performance at Alte Feuerwoche Cologne 26th October 1995. Score and Parts. For two Bass Clarinets. Published in 1995. Commissioned by Das Klarinettenduo Zelinsky/Smeyers. First performance at Alte Feuerwoche Cologne 26th October 1995. Score and Parts.

For Flute and Guitar. Published 1996. Commissioned by Yukihiko Nishizawa. First performance: Tokyo 1997 Yukihiko Nishizawa (fl) Norio Sato (guitar). For Flute and Guitar. Published 1996. Commissioned by Yukihiko Nishizawa. First performance: Tokyo 1997 Yukihiko Nishizawa (fl) Norio Sato (guitar).

David Blake 's Diversions On Themes Of Hanns Eisler for Alto Saxophone and Piano. David Blake 's Diversions On Themes Of Hanns Eisler for Alto Saxophone and Piano.

Includes 2 performing scores (Bass Clarinet and Vibraphone). Includes 2 performing scores (Bass Clarinet and Vibraphone).

Orchestra-The Beginning of the Day by Anne Boyd orchestral version. 5'; for orchestra (triple winds). Published 1994. 3(3rd=picc).2.3(3rd=bcl).3(3rd=cbn) / 4.3.3.1 / 3perc / strings The Beginning of the Day by Anne Boyd orchestral version. 5'; for orchestra (triple winds). Published 1994. 3(3rd=picc).2.3(3rd=bcl).3(3rd=cbn) / 4.3.3.1 / 3perc / strings

For Clarinet in A (Eb Clarinet / Bass Clarinet) Violin Cello and Piano. Published in 1986. Parts. For Clarinet in A (Eb Clarinet / Bass Clarinet) Violin Cello and Piano. Published in 1986. Parts.

For Solo Clarinet. Published in 2000. FIrst performed by Philip Edwards 7th November 2000 The Warehouse London. Score. For Solo Clarinet. Published in 2000. FIrst performed by Philip Edwards 7th November 2000 The Warehouse London. Score.

For wind ensemble. First performed by the Royal Northern College of Music Wind Orchestra conducted by Timonthy Reynish Spitalfields Festival London 22nd June 2001. For wind ensemble. First performed by the Royal Northern College of Music Wind Orchestra conducted by Timonthy Reynish Spitalfields Festival London 22nd June 2001.

For Clarinet Vibraphone Piano Violin. Published 1997. Commissioned by Festival 'Musik unserer Zeit 1997'. First performance: Christine Rudolf (vln) Werner Raabe (cl) Stefan Froleyks (perc) Clemens Rave (pno) Munster (Festival 'Musik unserer Zeit' Germany) 1997. For Clarinet Vibraphone Piano Violin. Published 1997. Commissioned by Festival 'Musik unserer Zeit 1997'. First performance: Christine Rudolf (vln) Werner Raabe (cl) Stefan Froleyks (perc) Clemens Rave (pno) Munster(Festival 'Musik unserer Zeit' Germany) 1997.

For Horn Trumpet Trombone and Percussion. First published in 1998. First performance by University of York New Music Group conducted by James Williams in June 1999. Score. For Horn Trumpet Trombone and Percussion. First published in 1998. First performance by University of York New Music Group conducted by James Williams in June 1999. Score.

For Treble Recorder Soprano voice and Piano Accompaniment. For Treble Recorder Soprano voice and Piano Accompaniment.

For choir and machine sounds. Duration is variable. For choir and machine sounds. Duration is variable.

For Soprano and Large Ensemble. Published 1986-7. 2(both+picc).2(1st+ob d'amr).3(all+bcl 2nd+asax 3rd+tsax).1(+cbn) / 2.0.1.0 / 2perc.pf(+cel).hp / 1.1.1.1.1 Commissioned by Paul Webster for the Orpheus Ensemble with funds made available by the Arts Council of Great Britain. First performance: Jane Ginsborg and the Orpheus Ensemble conducted by Paul Webster Almeida Festival 27th June 1987. Score. For Soprano and Large Ensemble. Published 1986-7. 2(both+picc).2(1st+ob d'amr).3(all+bcl 2nd+asax 3rd+tsax).1(+cbn) / 2.0.1.0 / 2perc.pf(+cel).hp / 1.1.1.1.1 Commissioned by Paul Webster for the OrpheusEnsemble with funds made available by the Arts Council of Great Britain. First performance: Jane Ginsborg and the Orpheus Ensemble conducted by Paul Webster Almeida Festival 27th June 1987. Score.

For Treble Recorder and Guitar commissioned by John Turner and Craig Ogden. First performed at Warwick University 19th October 1995. For Treble Recorder and Guitar commissioned by John Turner and Craig Ogden. First performed at Warwick University 19th October 1995.

MIDI Grand Piano Violin Viola Cello Tape and Live Electronics. MIDI Grand Piano Violin Viola Cello Tape and Live Electronics.

Sadie Harrison 's Quintet: 'No Title Required' was composed in 1994 and revised in 1999. The wonderful work lasts approximately 14 minutes and is arranged for Flute Clarinet Violin Cello and Piano. This piece was commissioned by Double Image who put on the first performance. The title of this work is taken from a poem of the same name by the Polish poet Wislawa Szymborska (winner of the Nobel Prize for Literature in 1996) and considers the importance of revolutions tyrannicides and politicalconspiracies in relation to that of skimming shadows fluttering white butterflies and windblown clouds. No Title Required has two movements. The first is fast and virtuosic the second lyrical and colouristic. Both havethe same formal pattern - a series of variations where one aspect of each section provides the theme' for the following variation. Whereas the first movement juxtaposes blocks of material to create a disjunct segmented structure the second weaves lines together to create a single flexible texture (disrupted towards the end by reminiscences' of the work's opening). No Title Required was commissioned by DoubleImage (to whom the work is dedicated) and has received several performances worldwide. The work was chosen to represent Australia in the ISCM World Music Days Hong Kong in