Cruel Mother for three voices (SSA) a traditional ballad arranged by Sarah Dacey . Duration: 4 minutes Composed: 2008 Also published as part of UYMP's Songspin Songbook ISMN M 57036 603 3. This is a very old cautionary ballad that like many folk tales has no definite origin there being many different versions from around Europe. I shifted the tonality of the melody from the Cecil Sharp arrangement to something slightly less cheery. First performed by Juice Vocal Ensemble in December 2008 at St. James Piccadilly London. Cruel Mother for three voices (SSA) a traditional ballad arranged by Sarah Dacey . Duration: 4 minutes Composed: 2008 Also published as part of UYMP's Songspin Songbook ISMN M 57036 603 3. This is a very old cautionary ballad that like many folk tales has no definite origin there being many different versions from around Europe. I shifted the tonality of the melody from the Cecil Sharp arrangement to something slightly less cheery. First performed by Juice Vocal Ensemble in December 2008 at St. James Piccadilly London.

I was born but... for flute(alto flute piccolo) clarinet in A piano percussion violin and cello. Composed 2002. Arranged in August 2005 from the larger ensemble version. Published 2017. Duration: 89 minutes Conceived as a live performance accompaniment to screenings of the silent film I Was Born But... by Yasujiro Ozu (Japan 1932). Released in 2011 as a specially recorded soundtrack on BFIB1070. I was born but... for flute(alto flute piccolo) clarinet in A piano percussion violin and cello. Composed 2002. Arranged in August 2005 from the larger ensemble version. Published 2017. Duration: 89 minutes Conceived as a live performance accompaniment to screenings of the silent film I Was Born But... by Yasujiro Ozu (Japan 1932). Released in 2011 as a specially recorded soundtrack on BFIB1070.

For solo Piano flexibly scored Ensemble and live electronics. Composed and published 2015. Duration: 15'. Night Music is the second instalment in a cycle of works called collectively 'Shadows of Destruction'. The cycle responds to images drawn from collections in the Imperial War Museum with a particular focus on the effects of the aerial campaign in World War II as recorded by RAF cameras. The work is in three parts: Part 1 - 'Flowing' Part 2 - 'Machine song' Part 3 - 'Night toccata' Premiere: 12 February 2015 Brighton Science Festival ('Music for Curious Minds' series) All Saints Church Hove by Joseph Houston (Piano) and University of Sussex Symphony Orchestra.Commissioned by Norman Jacobs artistic director of Music Of Our Time with funding support from The RVW Trust. For solo Piano flexibly scored Ensemble and live electronics. Composed and published 2015. Duration: 15'. Night Music is the second instalment in a cycle of works called collectively 'Shadows of Destruction'. The cycle responds to images drawn from collections in the Imperial War Museum with a particular focus on the effects of the aerial campaign in World War II as recorded by RAF cameras. The work is in three parts: Part 1 - 'Flowing' Part 2 - 'Machine song' Part 3 - 'Night toccata' Premiere: 12 February 2015 Brighton Science Festival ('Music for Curious Minds' series) All Saints Church Hove by Joseph Houston(Piano) and University of Sussex Symphony Orchestra. Commissioned by Norman Jacobs artistic director of Music Of Our Time with funding support from The RVW Trust.

Espacios Intemporales was commissioned by the Sigma Project with the generous support of the Ernst von Siemens Foundation in 2017. On completion of this score the composer is member of Sistema Nacional de Creadores de Arte of Fondo Nacional para la Cultura y las Artes México. Espacios Intemporales was commissioned by the Sigma Project with the generous support of the Ernst von Siemens Foundation in 2017. On completion of this score the composer is member of Sistema Nacional de Creadores de Arte of Fondo Nacional para la Cultura y las Artes México.

Ed Hughes ' Sinfonia. Ensemble Score. Ed Hughes ' Sinfonia. Ensemble Score.

Choral Score-For SSATBB choir. For SSATBB choir.

Hilda Paredes ' El Canto Del Tepozteco . Instrumentation: Flute Guitar Tam-tam Cymbal Marimba Vibraphone Celesta 9 Violins and 3 Violas. Hilda Paredes ' El Canto Del Tepozteco . Instrumentation: Flute Guitar Tam-tam Cymbal Marimba Vibraphone Celesta 9 Violins and 3 Violas.

Three Songs To Sonnets By Shakespeare-Ed Hughes ' Against That Time - Three Songs To Sonnets By Shakespeare for Mezzo Soprano Viola and Piano. ' Against That Time...Against My Love is a song cycle comprising of three related settings of Shakespeare sonnets(numbers 49 63 and 126). The sonnets are drawn from a collection of 154 of William Shakespeare's poems on love beauty and mortality first published together in 1609. The three sonnets chosen for this sequence meditate particularly on the effect of time upon the appearance of the beloved. In setting these extraordinary lines I let their rhythms permeate the melodic writing for the singer. The viola and piano act as a kind of echo chamber for the poet's very directand intimate thoughts. The poems seem both timeless and modern in attitude and perceptions; the music's harmonies though often tonally clear are occasionally fractured and in tension like the many images in thesepoignant texts. ' - Ed Hughes Ed Hughes ' Against That Time - Three Songs To Sonnets By Shakespeare for Mezzo Soprano Viola and Piano. ' Against That Time...Against My Love is a song cycle comprising of three related settings of Shakespeare sonnets(numbers 49 63 and 126). The sonnets are drawn from a collection of 154 of William Shakespeare's poems on love beauty and mortality first published together in 1609. The three sonnets chosen for this sequence meditate particularly on the effect of time upon the appearance of the beloved. In setting these extraordinary lines I let their rhythms permeate the melodic writing for the singer. Theviola and piano act as a kind of echo chamber for the poet's very direct and intimate thoughts. The poems seem both timeless and modern in attitude and perceptions; the music's harmonies though often tonally clear are occasionally fractured and in tension like the many images in thesepoignant texts. ' - Ed Hughes

Jo Kondo's A Straw Hat Dance arranged for harp.

Composed and published 2014. Commissioned by Festival Internacional Cervantino 2014. First performance: Randall Scarlata (baritone) and Ensemble Redes Festival Internacional Cervantino 2014 13th October 2014. Duration: 12 minutes. Instrumentation: Flute(=Bass Flute) Bass Clarinet Percussion Guitar Violin Viola.[Percussion: Triangle Cymbal Large Tam-Tam Wood Block Tambourine Wooden Chimes Sleigh Bells Güiro Maracas Bongos 3 Tom-toms Felxatone Waterphone Vibraphone Marimba 29-inch Timpani]. Composed and published 2014. Commissioned by Festival Internacional Cervantino 2014. First performance: Randall Scarlata (baritone) and Ensemble Redes Festival Internacional Cervantino 2014 13th October 2014. Duration: 12 minutes. Instrumentation: Flute(=Bass Flute) Bass Clarinet Percussion Guitar Violin Viola.[Percussion: Triangle Cymbal Large Tam-Tam Wood Block Tambourine Wooden Chimes Sleigh Bells Güiro Maracas Bongos 3 Tom-toms Felxatone Waterphone Vibraphone Marimba 29-inch Timpani].

This tiny piece was written as a response to hearing the premiere of Nicola LeFanu's momentous orchestral work The Crimson Bird on 17 February 2017. Nicola was my teacher and supervisor from 1986 to 1989 during my studies at King's College London. Although my formal study with her lasted just these three years her influence on my creative life has been immense and invaluable and continues to be felt in every piece I write. Luna ... is marked 'A starlit lullaby'. Its final notes E and F supply the letters of Nicola's surname missing from the title. The work was recorded by Philippa Harrison on Return of the Nightingales-Music for solo piano (Prima Facie 2017). - Sadie Harrison 'This tiny piece was written as a response to hearing the premiere of Nicola LeFanu's momentous orchestral work The Crimson Bird on 17 February 2017. Nicola was my teacher and supervisor from 1986 to 1989 during my studies at King's College London. Although my formal study with her lasted just these three years her influence on my creative life has been immense and invaluable and continues to be felt in every piece I write. Luna ... is marked 'A starlit lullaby'. Its final notes E and F supply the letters of Nicola's surname missing from the title. The work was recorded by Philippa Harrison on Return of the Nightingales-Music for solo piano (Prima Facie2017).' - Sadie Harrison

A Thread Entwined was written by Emily Wright for the Nieuw Ensemble and was commissioned in partnership with the Huddersfield Contemporary Music Festival. A Thread Entwined was first performed by the Nieuw Ensemble on 23rd November 2011 conducted by Bas Wiegers at the Huddersfield Contemporary Music Festival in St Pauls Hall. A Thread Entwined was written by Emily Wright for the Nieuw Ensemble and was commissioned in partnership with the Huddersfield Contemporary Music Festival. A Thread Entwined was first performed by the Nieuw Ensemble on 23rd November 2011 conducted by Bas Wiegers at the Huddersfield Contemporary Music Festival in St Pauls Hall.

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. © TS 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. © TS

Elisabeth Lutyens ' music from the film ' The Skull ' (1965). A3 conductor's score. Instrumentation: 2 Flutes (doubling Alto flute and Piccolo) 2 Clarinets (doubling Bass clarinet and Contrabass clarinet) 3 Horns 3 Trombones 2 Percussion Timpani Harp Piano Cimbalom Organ Violas (divisi) Cellos (divisi) Double bass. Elisabeth Lutyens ' music from the film ' The Skull ' (1965). A3 conductor's score. Instrumentation: 2 Flutes (doubling Alto flute and Piccolo) 2 Clarinets (doubling Bass clarinet and Contrabass clarinet) 3 Horns 3 Trombones 2 Percussion Timpani Harp Piano Cimbalom Organ Violas (divisi) Cellos (divisi) Double bass.

Return Of The Nightingales by Sadie Harrison is for solo Piano and Nightingale. This score is prefaced by the following Persian Sufi text: 'Ajab tarana e sar karda am darin golshan Khoda konad ke na sazad falak khamush mara' - which translates in English to 'I have started to sing a wonderful song in this flower-garden like a nightingale. I hope the movement of the stars (destiny) does not make me silent again.' It is used as a direct reference to the devastation of Afghan culture during the period of the Taliban when musicians were silenced many exiled or fleeing and to their re-emergence following the Taliban’s expulsion from 2001. The piece is dedicated to John Baily who together with his wife Veronica Doubleday has worked tirelessly to preserve Afghan music. His video documentary Return of the Nightingales (2012) celebrates the fabulous work undertaken by the Afghanistan National Institute for Music. Its mottos are: BUILD LIVES THROUGH MUSIC REVIVE AND PRESERVE AFGHAN MUSIC TRAIN FUTURE MUSIC EDUCATORS ESTABLISH INTERCULTURAL DIALOGUE ASSURE MUSICAL RIGHTS Return Of The Nightingales was commissioned by Late Music Festival with funds from the Performing Rights Society. It was premiered by Ian Pace on 3 August 2013 at the Unitarian Chapel York. Return Of The Nightingales by Sadie Harrison is for solo Piano and Nightingale. This score is prefaced by the following Persian Sufi text: 'Ajab tarana e sar karda am darin golshan Khoda konad ke na sazad falak khamush mara' - which translates in English to 'I have started to sing a wonderful song in this flower-garden like a nightingale. I hope the movement of the stars (destiny) does not make me silent again.' It is used as a direct reference to the devastation of Afghan culture during the period of the Taliban when musicians were silenced many exiled or fleeing and to their re-emergence following the Taliban’sexpulsion from 2001. The piece is dedicated to John Baily who together with his wife Veronica Doubleday has worked tirelessly to preserve Afghan music. His video documentary Return of the Nightingales (2012) celebrates the fabulous work undertaken by the Afghanistan National Institute for Music. Its mottos are: BUILD LIVES THROUGH MUSIC REVIVE AND PRESERVE AFGHAN MUSIC TRAIN FUTURE MUSIC EDUCATORS ESTABLISH INTERCULTURAL DIALOGUE ASSURE MUSICAL RIGHTS Return Of The Nightingales was commissioned by Late Music Festival with funds from the Performing Rights Society. It was premiered by Ian Pace on 3 August 2013 at the Unitarian Chapel York.

Luís Tinoco 's Incipit for symphony Orchestra. Conductor's score. “ Incipit ” includes various quotations of “Audivi vocem de caelo” written by the Portuguese composer Duarte Lobo (1565-1646) thought to have been born in the same year when the city of Rio de Janeiro was founded. Work commissioned by the OPART - S.Carlos Theatre to mark the city of Rio de Janeiro’s 450th anniversary and first performed by the Orquestra Sinfónica Brasileira conducted by Tito Muñoz – Cidade das Artes and Theatro Municipal 10th and 11th of June 2015 – Rio de Janeiro. Luís Tinoco 's Incipit for symphony Orchestra. Conductor's score. “ Incipit ” includes various quotations of “Audivi vocem de caelo” written by the Portuguese composer Duarte Lobo (?1565-1646) thought to have been born in the same year when the city of Rio de Janeiro was founded. Work commissioned by the OPART - S.Carlos Theatre to mark the city of Rio de Janeiro’s 450th anniversary and first performed by the Orquestra Sinfónica Brasileira conducted by Tito Muñoz – Cidade das Artes and Theatro Municipal 10th and 11th of June 2015 – Rio de Janeiro.

For Mixed Chorus. Published in 1970. Revised version. Choral Score. For Mixed Chorus. Published in 1970. Revised version. Choral Score.

Composed and published 2014. Commissioned by Festival Internacional Cervantino 2014. First performance: Randall Scarlata (baritone) and Ensemble Redes Festival Internacional Cervantino 2014 13th October 2014. Duration: 12 minutes. Instrumentation: Flute(=Bass Flute) Bass Clarinet Percussion Guitar Violin Viola.[Percussion: Triangle Cymbal Large Tam-Tam Wood Block Tambourine Wooden Chimes Sleigh Bells Güiro Maracas Bongos 3 Tom-toms Felxatone Waterphone Vibraphone Marimba 29-inch Timpani]. Composed and published 2014. Commissioned by Festival Internacional Cervantino 2014. First performance: Randall Scarlata (baritone) and Ensemble Redes Festival Internacional Cervantino 2014 13th October 2014. Duration: 12 minutes. Instrumentation: Flute(=Bass Flute) Bass Clarinet Percussion Guitar Violin Viola.[Percussion: Triangle Cymbal Large Tam-Tam Wood Block Tambourine Wooden Chimes Sleigh Bells Güiro Maracas Bongos 3 Tom-toms Felxatone Waterphone Vibraphone Marimba 29-inch Timpani].

Hacia Una Bitacora Capilar by the Mexican composer Hilda Paredes arranged for String Quartet. Hacia Una Bitacora Capilar was written in 2013-4 to celebrate the 40th anniversary of the Arditti Quartet with funds provided by Sistema Nacional de Creadores (Mexico) and the PRS Foundation. Duration: 7 minutes. Hacia Una Bitacora Capilar by the Mexican composer Hilda Paredes arranged for String Quartet. Hacia Una Bitacora Capilar was written in 2013-4 to celebrate the 40th anniversary of the Arditti Quartet with funds provided by Sistema Nacional de Creadores (Mexico) and the PRS Foundation. Duration: 7 minutes.

Lunae by Sadie Harrison Four Nocturnes for solo piano: I ...around and a round... II Lachrymae: 'Love is the silence in which I remember and repeat you' III Of stars and nightingales IV Sufficit lumen in tenebris 14'-15' for solo pianoforte Lunae by Sadie Harrison Four Nocturnes for solo piano: I ...around and a round... II Lachrymae: ?Love is the silence in which I remember and repeat you? III Of stars and nightingales IV Sufficit lumen in tenebris 14'-15'; for solo pianoforte