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.

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.