Jo Kondo 's Two Pieces for SATB Chorus. Commissioned by Tokyo Philharmonic Choir Two Pieces was composed in 1981. The work was first performed by Tokyo Philharmonic Choir conducted by Nobuaki Tanaka in Tokyo 1982. Jo Kondo 's Two Pieces for SATB Chorus. Commissioned by Tokyo Philharmonic Choir Two Pieces was composed in 1981. The work was first performed by Tokyo Philharmonic Choir conducted by Nobuaki Tanaka in Tokyo 1982.

For Marimba. Published in 2000. First performed by Pedro Carneiro Purcell Room South Bank Centre London 14th March 2000. Score. Luis Tinoco's Mind the Gap . Composed in 2000 and published in 2004 this work has been arranged for solo 5-octave Marimba with a duration of approximately 8 minutes. Also available for Piano .

Sadie Harrison's Gentle for solo Piano. Gentle was premiered by Ian Pace on 20 April 2018 at City University University of London. Duration: c. 4 minutes

Paredes Hilda Two Dowland Arrangements Cten/String Quartet Score

Paredes Hilda Three Gesualdo Arrangements Cten/String Quartet Score

for choir and fixed media-Isthmus denotes a narrow strip of land with sea on either side forming a link between two larger ars of land. The title is a metaphor for an effort to bond artistically my experiences of living in Cyprus my birthplace and in the USA my recently adopted homeland. Having lived in a small partitioned island for my formative years and in England for eleven years water has always had a double meaning: it has at once served as a gateway to other cultures but also as a border a violent and absolute interruption of a continuum. While in the USA or indeed in a now connected Europe it is possible to travel on land for days without having to encounter a border in the countries where I lived for most of my life that was not possible. As an artist this notion of establishing boundaries and consciously trying to break them is very close to me as my music deals both with modernity but also with tradition and similarly with metaphor and reality. As a Cypriot the sea the world of antiquity the mysteries of the oracles the notion of borders and the pastoral are all very central to my way of thinking. In Cyprus different layers of history are frequently superimposed on a single building that might still preserve its Roman Byzantine Venetian and Ottoman features in its layers of stone and architecture. Similarly ancient ruins or the barbed wire of modern conflict often interrupt placid fields. An isthmus therefore can be seen to symbolize my artistic struggle to join strikingly different experiences and notions in a cohesive way. Similar to an isthmus in this short piece I connect these experiences with the purpose of creating a distinct and unique sonic context connecting technology and tradition the pastoral with the urban the musical with the extra-musical and the abstract with the concrete. For example the choir does not always sing in the traditional sense but the singers imitate various natural sounds such as water air crickets or birds to create a vivid visual impression for the work. Scandinavian herding calls blend with field recordings from the seas of Cyprus and the lakes of Upstate New York communicated within clearly defined singular acoustic sources and spaces through wireless speakers. The text used is both onomatopoeic articulating an imaginary language but also literal with a setting of the poem “To make a prairie” by the iconic American poet Emily Dickinson and a tiny fragment from Callimachus’ “Hymn to Demeter.” Technology is used sparsely and very intentionally to articulate the expressive qualities of pastoral imagery creating one unified synthetic timbre with the choristers’ sounds. This piece is dedicated to the wonderful singers of the Georgia Institute of Technology Chamber Choir with special thanks to Professors Hsu and Ulrich without whose support this composition would not have been possible. Practical notes: A choir of no less than 24 singers i

Albanian Folk Song My Beautiful Morea

Celular

Interlude

Ten Gallows Songs

Jo Kondo's Prolegomenary Verses for Saxophone (baritone alto) Tuba Percussion (Bass Drum Vibraphone) and Piano. Commissioned by and written in 2018 for the Tokyo Gen'On Project. Duration: 9 minutes

Narcissus Reflects

Breathless

Fogo

Evis Sammoutis ' Particles (2015) for Flute (doubling Piccolo and Alto Flute) Violin and Cello. – Particles was commissioned by the 2015 Milano EXPO for the musicians of the Divertimento Ensemble. The composer was one of 50 finalists selected after an International Competition by Expo 2015’s Italian Pavilion. The competition was organised by Divertimento Ensemble in collaboration with the City of Milano the Region of Lombardia MITO SettembreMusica and Sentieri selvaggi and all composers had to create compositions inspired by the theme 'Feeding the Planet Energy for Life'. The composer decided to concentrate on exploring the notion of “Particles” (the smallest basic unitsof matter and energy) as the means of creating the main formal profile of this composition. This notion extends to all formal devises (texture figure and gesture). To use an analogy listening to this composition should feel like looking at a mosaic from an extremely short distance one’s eyes almost touching the intrinsic small tiles that create the larger picture. From this alternative perspective one begins to observe completely different patterns which went unperceived as part of the greater picture just as a closer look at a mosaic might reveal intricate bands of colour that would have been unnoticed from a greater distance. When this happens one can really appreciate the tiny details and nuances of the composition. Seen from afar these “particles” create different textures than they do from a closer distance or through a microscope exploration different matters and different qualities of energy. This composition brings into foreground microscopic “pictures” of the particles that constitute the totality of the work while simultaneously and unavoidably giving in its totality a larger formal picture over the course of time. Whilst the music is constructed into noticeably different blocks of sound each segment nevertheless originates from the same source from the same particle. Evis Sammoutis ' Particles (2015) for Flute (doubling Piccolo and Alto Flute) Violin and Cello. – Particles was commissioned by the 2015 Milano EXPO for the musicians of the Divertimento Ensemble. The composer was one of 50 finalists selected after an International Competition by Expo 2015’s Italian Pavilion. The competition was organised by Divertimento Ensemble in collaboration with the City of Milano the Region of Lombardia MITO SettembreMusica and Sentieri selvaggi and all composers had to create compositions inspired by the theme 'Feeding the Planet Energy for Life'. The composer decided toconcentrate on exploring the notion of “Particles” (the smallest basic units of matter and energy) as the means of creating the main formal profile of this composition. This notion extends to all formal devises (texture figure and gesture). To use an analogy listening to this composition sho

(Echopraxia) by Evis Sammoutis was commissioned by the Pharos Trust. First performance: 19 May 2006 at PASYDY Auditorium (Nicosia Cyprus) by Ensemble Modern. 15'; for string sextet: 2vln 2va 2vc

Brice Catherin a cellist and a composer exploring the notion of the one-man-band concept commissioned this work; this composition was subsequently the result of our collaboration. My aim has been to create a work where the cellist produces sounds using his full body: his hands (employing a variety of extended techniques on the Cello and external objects) his feet his mouth (singing and playing the harmonica and flexible tube) and even his face on one occasion to muffle the strings. There are two central themes in the work: virtuosity and theatre both strong frequent features of my compositional oeuvre. After several meetings and experimentation with Brice I chose asetup that enhances the musical scope without visually cluttering the stage. I am also using a rather unusual scordatura that not only changes the timbre of the instrument itself but also helps create unique soundscapes that blend together with the sounds from the spring drums the human voice (whistling groans and other effects) a singing bowl a harmonica and a flexible tube among others. The work is entitled Emmelia and there are two reasons for this: Emmelia derives from the prefix en (in) and the noun melos (harmony) thus meaning in harmony. The composition is structured and developed in clearly defined sections (noisy harmonious distorted etc.) based on information revealed by a spectral analysis of an F1 spectrum on the cello (tuned a fifth below low C) played and recorded using a variety of attacks and triggering objects and methods. Emmelia is also the name of my baby daughter who has been my constant inspiration since she was born.' - Evis Sammoutis 'Brice Catherin a cellist and a composer exploring the notion of the one-man-band concept commissioned this work; this composition was subsequently the result of our collaboration. My aim has been to create a work where the cellist produces sounds using his full body: his hands (employing a variety of extended techniques on the Cello and external objects) his feet his mouth (singing and playing the harmonica and flexible tube) and even his face on one occasion to muffle the strings. There are two central themes in the work: virtuosity and theatre both strong frequent features of my compositional oeuvre. After several meetings andexperimentation with Brice I chose a setup that enhances the musical scope without visually cluttering the stage. I am also using a rather unusual scordatura that not only changes the timbre of the instrument itself but also helps create unique soundscapes that blend together with the sounds from the spring drums the human voice (whistling groans and other effects) a singing bowl a harmonica and a flexible tube among others. The work is entitled Emmelia and there are two reasons for this: Emmelia derives from the prefix en (in) and the noun melos (harmony) thus meanin

Sadie Harrison 's A Journey for Double Bass and Piano. Composed in 2015 revised and published in 2016. Duration: 8 minutes. This four movement work was written at the request of bassist Ben Groenevelt for his pupil Alex Gibberd with funds provided by Bristol City Council's Guild of Guardians in recognition of Alex's contribution to the musical life of the city. A Journey is a reflection of Bristol's history as a trading port with routes to the Americas Northern Europe and the Far East with movements entitled: I Deep South - lazy dark blues' II The Eastern Road - austere theatre' III Northern Lights -a frozen glittering landscape' IV Wayout West! - jaunty hoedown' Sadie Harrison 's A Journey for Double Bass and Piano. Composed in 2015 revised and published in 2016. Duration: 8 minutes. This four movement work was written at the request of bassist Ben Groenevelt for his pupil Alex Gibberd with funds provided by Bristol City Council's Guild of Guardians in recognition of Alex's contribution to the musical life of the city. A Journey is a reflection of Bristol's history as a trading port with routes to the Americas Northern Europe and the Far East with movements entitled: I Deep South - lazy darkblues' II The Eastern Road - austere theatre' III Northern Lights - a frozen glittering landscape' IV Wayout West! - jaunty hoedown'

Frederick Viner's Herz an Herz for Piano Solo. Herz an Herz as the title implies ( heart to heart ) is a love duet. Two distinct voices characterised through their respective male and female vocal registers negotiate a warm heartfelt melody through a loosely strophic form. Initially the voices sing in turn each section - or verse - led predominantly by one. Each time their lines entwine virtuosic flourishes ascend the keyboard interrupting to render them silent again. It is only after one particularly tumultuous episode that the true duet appears: Out of the murky resonances of the lowest A' emerges thethrobbing chords and impassioned vocal lines from Wagner's famous duet O sink hernieder Nacht der Liebe from the second act of Tristan und Isolde . The singers' now reconciled come together for one final verse before a fleeting memory of the beginning gently ushers in the end of the piece. Herz an Herz was awarded 1st prize in William Howard's Love Song Composing Competition and was premiered on 26th April 2017 at Hoxton Hall London by William Howard. Duration: 5 minutes

George Nicholson's Salut for String Quartet. The death of Peter Cropper in May 2015 was an immeasurable blow to the musical community especially to those of us who knew him not only as a wonderful wise musician but also as a warm colleague and friend. His unceasing devotion to the cause of music and to the promotion of excellent standards in performance was in my experience beyond compare. The finest tribute we can pay him is to continue to make music to the best of our ability and to go on reaching out to continue to explore and learn. I always felt that I would need to commemorate Peter in a piece for String Quartet the medium he was most obviously associated with and in Salut it is understandably the first Violin part that has pride of place. The piece develops contrasting textures and registers and above all it is concerned with the influence of the extremely high Violin writing at the beginning on the rest of the ensemble. - George Nicholson Salut was first performed by the Ligeti Quartet Firth Hall University of Sheffield 17 May 2016. George Nicholson's Salut for String Quartet. The death of Peter Cropper in May 2015 was an immeasurable blow to the musical community especially to those of us who knew him not only as a wonderful wise musician but also as a warm colleague and friend. His unceasing devotion to the cause of music and to the promotion of excellent standards in performance was in my experience beyond compare. The finest tribute we can pay him is to continue to make music to the best of our ability and to go on reaching out to continue to explore and learn. I always felt that I would need to commemorate Peter in a piece for StringQuartet the medium he was most obviously associated with and in Salut it is understandably the first Violin part that has pride of place. The piece develops contrasting textures and registers and above all it is concerned with the influence of the extremely high Violin writing at the beginning on the rest of the ensemble. - George Nicholson Salut was first performed by the Ligeti Quartet Firth Hall University of Sheffield 17 May 2016.