(Trias) by Evis Sammoutis was first performed 29 June 2003 at Tanglewood Festival USA by Tanglewood Music Centre Fellows & Laura Jackson conductor 10'; for clarinet (doubling bass clarinet) horn percussion and cello.

D - Parts-Short Cuts was commissioned by the Apollo Saxophone Quartet in 2003/4 and was originally scored for two sopranos one tenor and one baritone. This new version however asks for a different scoring of three Bb Clarinets one bass Clarinet and one Percussionist (Vibraphone and Marimba). The work's main purpose is to play with two possible meanings for Short Cuts . That is both with the idea of sharp and cutting musical gestures and the idea of taking a different shorter path to reach a specific destination. But most of all it was written thinking of the wonderful sonority and the rare qualities of the ASQ to whom the work was dedicated. Short Cuts was commissioned by the Apollo Saxophone Quartet in 2003/4 and was originally scored for two sopranos one tenor and one baritone. This new version however asks for a different scoring of three Bb Clarinets one bass Clarinet and one Percussionist (Vibraphone and Marimba). The work's main purpose is to play with two possible meanings for ' Short Cuts '. That is both with the idea of sharp and cutting musical gestures and the idea of taking a different shorter path to reach a specific destination. But most of all it was written thinking of the wonderful sonority and the rare qualities of the ASQ to whom the work was dedicated.

Uhtceare for Flute Percussion Violin and Cello. Composed 2014 published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6) recorded by Dark Inventions. Duration: 8'30. Uhtceare is an Old English word meaning ‘anxiety before dawn’ – surely a familiar experience to many not just the Anglo-Saxons. I particularly associate it with the half-awake early-morning asthma attacks that I had as a child. The piece starts in a nocturnal dreamlike state with chords that pulse gently like the rise and fall of breaths. These swelling patterns become increasingly fraught while soloists sporadically emerge with a sense of urgency and culminate in a loud chaoticpassage where the percussionist moves from tuned Percussion to Drums. Following this the Flute plays agile looping figures that are soon mimicked by the Violin and then the Vibraphone. These figures are frenetic but harmonically static so that when all three instruments are playing them simultaneously there is a whirlwind of activity that paradoxically seems to remain stationary. I thought this was a fitting musical analogue for the fruitless but insistent circling of anxious early-morning thoughts. A dramatic Cello solo interrupts these imitative cycles and leads the ensemble in a cacophonous final crescendo. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House Manchester. Uhtceare for Flute Percussion Violin and Cello. Composed 2014 published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6) recorded by Dark Inventions. Duration: 8'30'. Uhtceare is an Old English word meaning ‘anxiety before dawn’ – surely a familiar experience to many not just the Anglo-Saxons. I particularly associate it with the half-awake early-morning asthma attacks that I had as a child. The piece starts in a nocturnal dreamlike state with chords that pulse gently like the rise and fall of breaths. These swelling patterns become increasingly fraught while soloists sporadically emerge witha sense of urgency and culminate in a loud chaotic passage where the percussionist moves from tuned Percussion to Drums. Following this the Flute plays agile looping figures that are soon mimicked by the Violin and then the Vibraphone. These figures are frenetic but harmonically static so that when all three instruments are playing them simultaneously there is a whirlwind of activity that paradoxically seems to remain stationary. I thought this was a fitting musical analogue for the fruitless but insistent circling of anxious early-morning thoughts. A dramatic Cello solo interrupts these imitative cycles and leads the ensemble in a cacophonous final crescendo. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House Manchester.

Thomas Simaku 's Albanian Folk Song 'My Beautiful Morea' for Cello and Guitar. Score and part.

Sadie Harrison 's A Not-So-Sonatine for Double Bass and Piano. Composed in 2013 and revised and published in 2016. Duration: 10 minutes. A Not-So-Sonatine is so called as it is rather more than a sonatine being uncharacteristically virtuosic for both Double Bass and Piano. This is a light-hearted piece which references the plethora of accessible mid-twentieth century sonatines with delight! The second movement is also known as Josie's Piece premiered by Josie Jobbins in 2014 at the Taunton Young Musician of the Year Final. A Not-So-Sonatine is dedicated to the virtuoso bassist David Heyes. The work is in four movements: Molto moto! Moltocantabile Molto scherzando Molto brillante! A Not-So-Sonatine was premiered at the Auditorio de Almuñecar (Granada Spain) on 30th November 2015 by bassist Frano Kakarigi and pianist Juan José Muñoz Cañivano. Watch a video of this performance: Sadie Harrison 's A Not-So-Sonatine for Double Bass and Piano. Composed in 2013 and revised and published in 2016. Duration: 10 minutes. A Not-So-Sonatine is so called as it is rather more than a sonatine being uncharacteristically virtuosic for both Double Bass and Piano. This is a light-hearted piece which references the plethora of accessible mid-twentieth century sonatines with delight! The second movement is also known as Josie's Piece premiered by Josie Jobbins in 2014 at the Taunton Young Musician of the Year Final. ANot-So-Sonatine is dedicated to the virtuoso bassist David Heyes. The work is in four movements: Molto moto! Molto cantabile Molto scherzando Molto brillante! A Not-So-Sonatine was premiered at the Auditorio de Almuñecar (Granada Spain) on 30th November 2015 by bassist Frano Kakarigi and pianist Juan José Muñoz Cañivano. Watch a video of this performance:

Evis Sammoutis ' Pixel for 12 pianists on 6 Pianos. Full score. This work is dedicated to Piandaemonium. Evis Sammoutis ' Pixel for 12 pianists on 6 Pianos. Full score. This work is dedicated to Piandaemonium.

James Weeks ' The Nunhead Harmony for Clarinet in Bb Violin Viola and Double Bass. Score and parts. The Nunhead Harmony was commissioned by Ensemble Scratch the Surface and first performed by them at King’s Place London on 10 May 2010. Much of the writing was completed as part of an Aldeburgh Composer Residency. James Weeks ' The Nunhead Harmony for Clarinet in Bb Violin Viola and Double Bass. Score and parts. The Nunhead Harmony was commissioned by Ensemble Scratch the Surface and first performed by them at King’s Place London on 10 May 2010. Much of the writing was completed as part of an Aldeburgh Composer Residency.

Sarah Dacey 's Cruel Brother for three voices (SSA). Duration: 4 minutes Composed: 2011 Also published as part of UYMP's Songspin Songbook ISMN M 57036 603 3. The only two recordings I found of this ballad were very different from one another and as I wasn’t really sure I liked either of them I decided to compose my own version and amend the lyrics. Sarah Dacey 's Cruel Brother for three voices (SSA). Duration: 4 minutes Composed: 2011 Also published as part of UYMP's Songspin Songbook ISMN M 57036 603 3. The only two recordings I found of this ballad were very different from one another and as I wasn’t really sure I liked either of them I decided to compose my own version and amend the lyrics.

Monsoon Toccata by Anthony Gilbert. 3'33; for solo piano. In memoriam Janet Owen Thomas (1961-2002). In 1988 Janet Owen Thomas met up with me in Sydney at the end of a short organ-recital tour - possibly her last before devoting herself entirely to composing. We returned to England together doing a rapid circular tour of Northern India on the way. Alighting from the plane at Delhi we were hit by the whirling wind and torrential rain of the seasonal monsoon and early the following morning there was also a minor earthquake. This experience determined the spirit of the music and Northern Indian Raga determines the purely technical approach with thequasi-improvisatory toccatalike textures acting as decoration to a slow-moving widely-spaced modal top line which almost loses control of the overall shape at the mid-point - a reflection of the impact of those natural phenomena. A.G. Monsoon Toccata by Anthony Gilbert. 3'33'; for solo piano. In memoriam Janet Owen Thomas (1961-2002). 'In 1988 Janet Owen Thomas met up with me in Sydney at the end of a short organ-recital tour - possibly her last before devoting herself entirely to composing. We returned to England together doing a rapid circular tour of Northern India on the way. Alighting from the plane at Delhi we were hit by the whirling wind and torrential rain of the seasonal monsoon and early the following morning there was also a minor earthquake. This experience determined the spirit of the music and Northern Indian Raga determines the purely technical approach withthe quasi-improvisatory toccatalike textures acting as decoration to a slow-moving widely-spaced modal top line which almost loses control of the overall shape at the mid-point - a reflection of the impact of those natural phenomena.' A.G.

Berceuse For A Baby

Velocity

Featuring a distinctive ostinato – or ‘riff’ to use a more apt pop-infused term – Riffs on Seven employs piano four-hands to offer a wide array of tuneful figurations all based on the various metrical properties unique to 7/8. Listen to the premiere on Youtube.

Cuckmere - A Portrait

a document on the making of the electro-acoustic work

Du Bist Mein