For Flute Clarinet Bass Clarinet Horn Piano Violin Cello Live Delay and Spacialising Effects. For Flute Clarinet Bass Clarinet Horn Piano Violin Cello Live Delay and Spacialising Effects.

Robert Saxton 's Passacaglia On The Name John McCabe for Organ. Commissioned by George Vass for a concert in celebration of the life and work of John McCabe CBE. First performed in Faversham Church Kent on 28th June 2015 by Edward Kemp-Luck. Duration: 6 mins ca. A review in the June 2016 edition of Organist's Review calls this piece a beautifully produced work that features the pleasing disorientation of false relations and is as inventive as it is impressive. A similarly glowing review in the August-October edtion of The Organ magazine calls this piece a very impressive short work indeed; brilliantly imagines and written for the instrument...one can only urge thismusic on all recital organists - it is a splendid piece and would surely make a counterpart to an original McCabe organ work in the same programme - the Johannes-Partita especially. Robert Saxton 's Passacaglia On The Name John McCabe for Organ. Commissioned by George Vass for a concert in celebration of the life and work of John McCabe CBE. First performed in Faversham Church Kent on 28th June 2015 by Edward Kemp-Luck. Duration: 6 mins ca. A review in the June 2016 edition of Organist's Review calls this piece a 'beautifully produced work' that features 'the pleasing disorientation of false relations' and is 'as inventive as it is impressive.' A similarly glowing review in the August-October edtion of The Organ magazine calls thispiece 'a very impressive short work indeed; brilliantly imagines and written for the instrument...one can only urge this music on all recital organists - it is a splendid piece and would surely make a counterpart to an original McCabe organ work in the same programme - the Johannes-Partita especially.'

Sadie Harrison 's Sehnsucht for Violin and Piano. Score and part.

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.

Sadie Harrison's Coretta for Clarinet Cello and Piano. Coretta was commissioned by New Music in the South West with generous support from Arts Council England. It received its premiere on 4 February 2018 at the Victoria Rooms Bristol performed by Andy Keenan Alison Holford Michelle Ezigbo and Tomaš Klement. The work is dedicated to NMSW's founder and director Julian Leeks. Duration: c. 9 minutes

(Dimorphism) by Evis Sammoutis was written in memoriam Giacinto Scelsi (1905-1988) and was commissioned by the Athens Concert Hall. First performance: 6 March 2004 at Athens Concert Hall (Athens Greece) by Members of the Camerata Friends of Music Orchestra 13'; for two violins

Bass Clarinet In Bb Version-Moj e Bukura Moré (My Beautiful Morea) has its origin in Southern Italy in Calabria where an Albanian community has lived for more than 500 years and so has the song! The tenderness of the melodic lines expresses the natural beauty of the distant homeland which according to legend can be seen from the Calabrian mountain-tops. As in most folk songs this tune is remarkably short; the melody itself has not been altered but has been extended enriched in texture and presented in different ways. The melodic lines serve as a point of departure for the proliferation of a distinct harmonic vocabulary. - Thomas Simaku' Moj e Bukura Moré (My Beautiful Morea) has its origin in Southern Italy in Calabria where an Albanian community has lived for more than 500 years and so has the song! The tenderness of the melodic lines expresses the natural beauty of the distant homeland which according to legend can be seen from the Calabrian mountain-tops. As in most folk songs this tune is remarkably short; the melody itself has not been altered but has been extended enriched in texture and presented in different ways. The melodic lines serve as a point of departure for the proliferation of a distinct harmonic vocabulary. ' - Thomas Simaku

For Cor Anglais and five instruments (Clarinet Piano Violin Viola and Cello). Published in 2001. Commissioned by the Britten Sinfonia. First performed by the Britten Sinfonia St Edmund's Theatre Caterbury November 2001 and conducted by Nicholas Cleobury. Score and Parts. For Cor Anglais and five instruments (Clarinet Piano Violin Viola and Cello). Published in 2001. Commissioned by the Britten Sinfonia. First performed by the Britten Sinfonia St Edmund's Theatre Caterbury November 2001 and conducted by Nicholas Cleobury. Score and Parts.

Evis Sammoutis ' L'Oracle De Nicosia for Soprano and Double Bass. Composed and published 2016. Duration c. 3 minutes. The Oracle of Nicosia is the first of several works planned for the 2016 / 17 seasons that are directly inspired by particular features of my homeland Cyprus and my hometown of Nicosia more specifically. The composition is written for and dedicated to two exceptional musicians and exponents of new music Double Bassist Uli Fussenegger and Soprano Hélène Fauchère. I never had the chance to set French poetry in any of my previous works and I was delighted to collaborate with Dorian Astor. I was already familiar with his outstanding oeuvre andhis previous collaborations with composers and after several exchanges Dorian Astor created the ideal text for the vision I had for the new work with a prose that is colorful concise evocative mysterious and cryptic at the same time creating a text of hymnal yet fragmentary form. The key concepts circle around ancient mystery the esoteric universe of the Delphic oracle the Eleusinian Mysteries and the Dionysian or Orphic cults - Evis Sammoutis Evis Sammoutis ' L'Oracle De Nicosia for Soprano and Double Bass. Composed and published 2016. Duration c. 3 minutes. The Oracle of Nicosia is the first of several works planned for the 2016 / 17 seasons that are directly inspired by particular features of my homeland Cyprus and my hometown of Nicosia more specifically. The composition is written for and dedicated to two exceptional musicians and exponents of new music Double Bassist Uli Fussenegger and Soprano Hélène Fauchère. I never had the chance to set French poetry in anyof my previous works and I was delighted to collaborate with Dorian Astor. I was already familiar with his outstanding oeuvre and his previous collaborations with composers and after several exchanges Dorian Astor created the ideal text for the vision I had for the new work with a prose that is colorful concise evocative mysterious and cryptic at the same time creating a text of hymnal yet fragmentary form. The key concepts circle around ancient mystery the esoteric universe of the Delphic oracle the Eleusinian Mysteries and the Dionysian or Orphic cults - Evis Sammoutis

Laurence Roman 's Carpathian Dances for Viola and Piano accompaniment. Laurence Roman 's Carpathian Dances for Viola and Piano accompaniment.

Zeta Potential was composed in 2012 for the Nieuw Ensemble from Amsterdam. This piece was commissioned as part of the European Composers Professional Development Programme led by Huddersfield Contemporary Music Festival. Zeta Potential is the scientific term used for a calculation which measures the stability of semi-fluid/semi-solidsubstances. The piece Zeta Potential plays with the capability of the ensemble and texture to remain as a coordinated and stable system. The piece traces a constant flux between ‘solid’ and ‘fluid’ textures framed around cycles of growing and decaying musical patterns whichundergo constant transformation. Zeta Potential was composed in 2012 for the Nieuw Ensemble from Amsterdam. This piece was commissioned as part of the European Composers Professional Development Programme led by Huddersfield Contemporary Music Festival. Zeta Potential is the scientific term used for a calculation which measures the stability of semi-fluid/semi-solidsubstances. The piece Zeta Potential plays with the capability of the ensemble and texture to remain as a coordinated and stable system. The piece traces a constant flux between ‘solid’ and ‘fluid’ textures framed around cycles of growing and decaying musical patterns whichundergoconstant transformation.

For Clarinet Ensemble. E flat Clarinet 7 B flat Clarinets Alto Clarinet (or Bassett Horn) 2 Bass Clarinets Contra-Alto Clarinet in B flat (or Contra-Bass Clarinet in B flat) For Clarinet Ensemble. E flat Clarinet 7 B flat Clarinets Alto Clarinet (or Bassett Horn) 2 Bass Clarinets Contra-Alto Clarinet in B flat (or Contra-Bass Clarinet in B flat)

Seven scenes for Soprano Tenor and 7 instruments. Published in 1954. First performed by Alexandra Browning John Winfield New Opera Company conducted by Leon Lovett Sadlers' Wells 17th April 1973. Vocal Score. Seven scenes for Soprano Tenor and 7 instruments. Published in 1954. First performed by Alexandra Browning John Winfield New Opera Company conducted by Leon Lovett Sadlers' Wells 17th April 1973. VocalScore.

Sadie Harrison's Mimih's First Song for Chamber Orchestra. Composed 2018. Duration: 14 minutes

Hilda Paredes ' Miles Away for solo Trumpet and large Ensemble. Duration: 22 minutes. Commissioned by Ensemble Contrechamps with the generous support of the Ernst von Siemens Foundation. It is dedicated to Ensemble Contrechamps and the Trumpet player Pacho Flores. Premiered by Pacho Flores and Ensemble Contrechamps conducted by Michael Wendeberg at Théâtre de l'Alhambra on Geneva 23rd May 2016. Hilda Paredes ' Miles Away for solo Trumpet and large Ensemble. Duration: 22 minutes. Commissioned by Ensemble Contrechamps with the generous support of the Ernst von Siemens Foundation. It is dedicated to Ensemble Contrechamps and the Trumpet player Pacho Flores. Premiered by Pacho Flores and Ensemble Contrechamps conducted by Michael Wendeberg at Théâtre de l'Alhambra on Geneva 23rd May 2016.

Thomas Simaku 's L'image Oubliée D'après Debussy for solo Piano.

Frederick Viner's Selene's Reverie for Chamber Orchestra. Commissioned by St Peter's Chamber Orchestra. Duration: 5 minutes

George Nicholson's Launch for Bass Clarinet String Quartet and Piano. Composed May 2018. Duration: 1 minute Premiered 26 April 2018 by Sarah Watts Jonathan Ayerst and the Ligeti Quartet. Programme Note: This piece was composed to mark the inauguration of the Centre for New Music at Sheffield (CeNMaS). It was one of several 'microcosmic' pieces written by postgraduate students and staff composers of the University of Sheffield for that occasion to be presented as a continuous sequence of very brief instrumental and electroacoustic works. The beginning of any new venture impliespotential and possibility; borne of optimism it invokes hope for the future. It was with these thoughts in mind that I set out in Launch to fill a minute of playing time with as much activity as possible.

For Soprano and Piano. Also available as part of the UYMP volume 'Finding Ursula Vaughan Williams'. For Soprano and Piano. Also available as part of the UYMP volume 'Finding Ursula Vaughan Williams'.

Laurence Roman's Quintet For Strings . Composed and published in 2017 this piece is dedicated to the fond memory of Robert Kemeny. Laurence Roman's Quintet For Strings . Composed and published in 2017 this piece is dedicated to the fond memory of Robert Kemeny.