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 political conspiracies 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 have the 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 segmentedstructure 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 Double Image (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 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

Times For Flying by Sadie Harrison Published 2000. Commissioned by Colin Lawson and Ian Mitchell. First performance: Goldsmiths College May 2000. Recorded on Clarinet Classics CC0032. 9'; for 2 clarinets Times For Flying by Sadie Harrison Published 2000. Commissioned by Colin Lawson and Ian Mitchell. First performance: Goldsmiths College May 2000. Recorded on Clarinet Classics CC0032. 9'; for 2 clarinets

Orchestra (double winds). Published 1995 Commissioned by Hiroyuki Iwaki and Orchestra Ensemble Kanazawa. First performance: Kanazawa Japan 1995 Hiroyuki Iwaki (cond) Orchestra Ensemble Kanazawa. Orchestra (double winds). Published 1995 Commissioned by Hiroyuki Iwaki and Orchestra Ensemble Kanazawa. First performance: Kanazawa Japan 1995 Hiroyuki Iwaki (cond) Orchestra Ensemble Kanazawa.

For String Quartet. Published 1976-7. First performance: the Medici Quartet Sir Jack Lyons Concert Hall York 15th June 1977. Study score. For String Quartet. Published 1976-7. First performance: the Medici Quartet Sir Jack Lyons Concert Hall York 15th June 1977. Study score.

For Brass Quintet and Tape. Published in 1970. Commissioned by the BBC and first performed by the Philip Jones Brass Ensemble London 1971. Score. For Brass Quintet and Tape. Published in 1970. Commissioned by the BBC and first performed by the Philip Jones Brass Ensemble London 1971. Score.

For Mezzo-Soprano Flute Clarinet Piano Percussion Violin Cello and Contrabassoon. Published 2001 Text by Tom Lowenstein. First performance: 19 May 2001 Brighton Festival; Louise Mott (mezzo) New Music Players conducted by Patrick Bailey. For Mezzo-Soprano Flute Clarinet Piano Percussion Violin Cello and Contrabassoon. Published 2001 Text by Tom Lowenstein. First performance: 19 May 2001 Brighton Festival; Louise Mott (mezzo) New Music Playersconducted by Patrick Bailey.

For string quartet. Published 2000. First performance: Kreutzer Quartet Newcastle International Chamber Music Festival December 1999. Parts. For string quartet. Published 2000. First performance: Kreutzer Quartet Newcastle International Chamber Music Festival December 1999. Parts.

For Oboe Bassoon Piano Guitar 2 Percussion Violin Published 1985. First performance: Tokyo 1985 Ryoichi Kawai (cond) Musica Practica Ensemble. For Oboe Bassoon Piano Guitar 2 Percussion Violin Published 1985. First performance: Tokyo 1985 Ryoichi Kawai (cond) Musica Practica Ensemble.

For 4 amplified voices and quad click-track tape. First published in 1985. Commissioned by Sound Art at Mobius and first performed by Electric Phoenix Mobius Gallery Boston USA 1985. For 4 amplified voices and quad click-track tape. First published in 1985. Commissioned by Sound Art at Mobius and first performed by Electric Phoenix Mobius Gallery Boston USA 1985.

For Soprano and Double Bass soloists 2 narrators large chamber ensemble tapes and live electronics. 0.0.3(all+bcl).0 / 1.1.1.0 / hp.2perc / 0.0.0.0.1 Commissioned by the BBC. First performed by Jane Manning Barry Guy John Baddeley and John Rye with London Sinfonietta conductor ELgar Howarth Liverpool 1973. Published in 1973. Score. For Soprano and Double Bass soloists 2 narrators large chamber ensemble tapes and live electronics. 0.0.3(all+bcl).0 / 1.1.1.0 / hp.2perc / 0.0.0.0.1 Commissioned by the BBC. First performed by JaneManning Barry Guy John Baddeley and John Rye with London Sinfonietta conductor ELgar Howarth Liverpool 1973. Published in 1973. Score.

As-sal mu alaykum Bethlehem combines selected words from O Little Town of Bethlehem (written by Phillips Brooks after his visit to the town in 1895) with the Islamic greeting meaning Peace be unto you'. At a time when Bethlehem is beset with troubles this optimistic carol brings together the two traditions in a spirit of solidarity - Peace be unto you O little town of Bethlehem!' Duration: 3 minutes As-sal mu alaykum Bethlehem combines selected words from O Little Town of Bethlehem (written by Phillips Brooks after his visit to the town in 1895) with the Islamic greeting meaning Peace be unto you'. At a time when Bethlehem is beset with troubles this optimistic carol brings together the two traditions in a spirit of solidarity - Peace be unto you O little town of Bethlehem!' Duration: 3 minutes

King Kong's Love Song-Sadie Harrison 's Squish! (King Kong's Love Song) for String Quartet. Composed and published 2016. Dedicated to Cuatro Puntos and The American School for the Deaf. Squish! is a love story King Kong's love story. But not the conventional one immortalised in the 1933 Hollywood film - the terrifying giant ape astride the Empire State Building who clasps the fainting heroine while swiping hopelessly at the planes which eventually send him crashing dead to the ground. This is the American Sign Language (ASL) version which has something of a twist at the end. Squish! was written as Composer-in-Residence with Cuatro Puntos and was commissioned with funds from the Connecticut Officeof the Arts. The premiere took place at the American School for the Deaf (the oldest permanent school for the deaf in the United States founded in 1817) in West Hartford Connecticut on 7th December 2016. Sadie Harrison 's Squish! (King Kong's Love Song) for String Quartet. Composed and published 2016. Dedicated to Cuatro Puntos and The American School for the Deaf. Squish! is a love story King Kong's love story. But not the conventional one immortalised in the 1933 Hollywood film - the terrifying giant ape astride the Empire State Building who clasps the fainting heroine while swiping hopelessly at the planes which eventually send him crashing dead to the ground. This is the American Sign Language (ASL) version which has something of a twist at the end. Squish! was written asComposer-in-Residence with Cuatro Puntos and was commissioned with funds from the Connecticut Office of the Arts. The premiere took place at the American School for the Deaf (the oldest permanent school for the deaf in the United States founded in 1817) in West Hartford Connecticut on 7th December 2016.

Vexilla Regis was composed and published 2014. Dedicated to Benjamin Nicholas and the choir of Merton College Oxford on the occasion of the 750th anniversary of the foundation of the college. A setting of Venantius Fortunatus (530-609 CE). Vexilla Regis prodeunt;fulget Crucis mysterium quo carne carnis conditorsuspensus est patibulo. The banners of the king advance;the mystery of the cross shines forth through which the creator of the flesh was in his fleshhung upon a cross. (Translation: Dr Scott Scullion Fellow and Tutor in Classics Worcester College Oxford.) Vexilla Regis was composed and published 2014. Dedicated to Benjamin Nicholas and the choir of Merton College Oxford on the occasion of the 750th anniversary of the foundation of the college. A setting of Venantius Fortunatus (530-609 CE). Vexilla Regis prodeunt;fulget Crucis mysterium quo carne carnis conditorsuspensus est patibulo. The banners of the king advance;the mystery of the cross shines forth through which the creator of the flesh was in his fleshhung upon a cross. (Translation: Dr Scott Scullion Fellow and Tutor in Classics Worcester College Oxford.)

James Weeks ' Come Away for Soprano Violin Cello and Piano. Performing score. Come Away was written for and first performed by Kürbis Ensemble (Juliet Fraser Soprano Sophie Appleton Violin Ken Ichinose Cello James Weeks Piano) at Kettle’s Yard Cambridge on 10 February 2008. James Weeks ' Come Away for Soprano Violin Cello and Piano. Performing score. Come Away was written for and first performed by Kürbis Ensemble (Juliet Fraser Soprano Sophie Appleton Violin Ken Ichinose Cello James Weeks Piano) at Kettle’s Yard Cambridge on 10 February 2008.

Dast Be Dast ('Hand to hand in friendship') was commissioned by Cuatro Puntos a pioneering ensemble of chamber musicians dedicated to global cooperation and peace through the writing and performance of new music worldwide. The piece was written specifically for their violist Kevin Bishop and for Rubab player Samim Zafar a student of the extraordinary Afghanistan National Institute for Music (ANIM) in Kabul. Kevin suggested that the piece should represent the two distinct but equal musical cultures of the performers and as such both players are required to adopt characteristics of each other's traditions both techniques and languages. Dast Be Dast illuminates variousaspects of Afghan and Western music-making with both instruments exploring improvisation alongside notation controlled imitation with spontaneous elaboration and Western tonality within Afghan scales. The piece is based on three Afghan songs each heard clearly in the three movements which are played without a break: I Anar Anar (Pomegranates): a fast song where the two instruments imitate each other gradually becoming more and more elaborate. II Allah Hu (This is God): a meditative movement for solo viola based on a specific interpretation of Allah Hu sung as a lullaby by Veronica Doubleday in 2004. III Watan Jan (Dear Homeland): based on a whirling atan dance in 7/8. Gradually getting faster and faster the players have to keep up with each other's virtuosity. The work was premiered by Samim and Kevin on 23 June 2014 at ANIM Kabul Afghanistan.The work is dedicated to them both with admiration. Dast Be Dast ('Hand to hand in friendship') was commissioned by Cuatro Puntos a pioneering ensemble of chamber musicians dedicated to global cooperation and peace through the writing and performance of new music worldwide. The piece was written specifically for their violist Kevin Bishop and for Rubab player Samim Zafar a student of the extraordinary Afghanistan National Institute for Music (ANIM) in Kabul. Kevin suggested that the piece should represent the two distinct but equal musical cultures of the performers and as such both players are required to adopt characteristics of each other's traditions both techniques andlanguages. Dast Be Dast illuminates various aspects of Afghan and Western music-making with both instruments exploring improvisation alongside notation controlled imitation with spontaneous elaboration and Western tonality within Afghan scales. The piece is based on three Afghan songs each heard clearly in the three movements which are played without a break: I Anar Anar (Pomegranates): a fast song where the two instruments imitate each other gradually becoming more and more elaborate. II Allah Hu (This is God): a meditative movement for solo viola based on a specific interpretation of Allah Hu sung as a lullaby by Veronica Doubleday in 2004. III Watan Jan (Dear Homeland): based o

Wind Quintet Parts-Luís Tinoco 's Autumn Wind . Parts for Wind Quintet. Composed 1998 published 2004. Commissioned by the Junior Academy of the Royal Academy of Music. First performance: RAM/Junior Academy students Duke's Hall RAM London 20th June 1998. First professional performance: Galliard Ensemble Wanstead and Woodford Festival of Chamber Music Holy Trinity Church 17th April 1999. Recorded on MERIDIAN CDE 84429 and DEUX-ELLES DXL 1084. Duration: c. 10 minutes. Luís Tinoco 's Autumn Wind . Parts for Wind Quintet. Composed 1998 published 2004. Commissioned by the Junior Academy of the Royal Academy of Music. First performance: RAM/Junior Academystudents Duke's Hall RAM London 20th June 1998. First professional performance: Galliard Ensemble Wanstead and Woodford Festival of Chamber Music Holy Trinity Church 17th April 1999. Recorded on MERIDIAN CDE 84429and DEUX-ELLES DXL 1084. Duration: c. 10 minutes.

Phillip Neil Martin 's Human Drum for three voices (SSA). Duration: 3 minutes Composed: 2006 Also published as part of UYMP's Songspin Songbook ISMN M 57036 603 3. Human Drum was a collaboration with the Juice Vocal Ensemble. The piece began in the recording studio where I recorded Juice singing notated fragments I’d popped together and also their own improvisations. I then edited and cut up all the audio into very tiny fragments in a myriad of ways to make a short rhythm-based electronic 3 part vocal piece. This forms part of my larger work Voices of the Asylum for voices human beatbox electronics fashion and space. The final track bares very little resemblance to theoriginal recording studio session. Several weeks after I had finished Human Drum Juice asked me to transcribe the audio so they could sing the piece live (which wasn’t easy to do after all the cutting and processing!) therefore coming full circle! There are now two versions of Human Drum the studio electronic track and the ‘live’ notated version. Human Drum is dedicated to the Juice Vocal Ensemble with affection. First performed by Juice Vocal Ensemble on 3rd May 2007 at York Spring Festival Sir Jack Lyons Concert Hall University of York. Phillip Neil Martin 's Human Drum for three voices (SSA). Duration: 3 minutes Composed: 2006 Also published as part of UYMP's Songspin Songbook ISMN M 57036 603 3. Human Drum was a collaboration with the Juice Vocal Ensemble. The piece began in the recording studio where I recorded Juice singing notated fragments I’d popped together and also their own improvisations. I then edited and cut up all the audio into very tiny fragments in a myriad of ways to make a short rhythm-based electronic 3 part vocal piece. This forms part of my larger work Voices of the Asylum for voices human beatbox electronics fashion andspace. The final track bares very little resemblance to the original recording studio session. Several weeks after I had finished Human Drum Juice asked me to transcribe the audio so they could sing the piece live (which wasn’t easy to do after all the cutting and processing!) therefore coming full circle! There are now two versions of Human Drum the studio electronic track and the ‘live’ notated version. Human Drum is dedicated to the Juice Vocal Ensemble with affection. First performed by Juice Vocal Ensemble on 3rd May 2007 at York Spring Festival Sir Jack Lyons Concert Hall University of York.

Hilda Paredes ' Jitanjáfora for eight-piece Ensemble. A4 study score. Jitanjáfora was commissioned by Instituto Nacional de Bellas Artes y Literatura through Centro de Experimentación y Producción de Música Contemporáneaof México in 2014. Hilda Paredes ' Jitanjáfora for eight-piece Ensemble. A4 study score. Jitanjáfora was commissioned by Instituto Nacional de Bellas Artes y Literatura through Centro de Experimentación y Producción de Música Contemporáneaof México in 2014.

Soundings by George Nicholson for Bass Clarinet. Soundings by George Nicholson for Bass Clarinet.

For Flute Trio. For Flute Trio.