Recordings
Here are recordings of some of my compositions. More will be added as they become available.
Here are recordings of some of my compositions. More will be added as they become available.
Click on the YouTube links to hear the recordings
Click on the YouTube links to hear the recordings
Violin Sonata (1975) This was one of my early attempts at composition. I was 16 and attending Laurence Jackson School in Guisborough. Although I was self taught at this point I was lucky enough to have a good violinist as a friend (Tim Aldren) and a supportive Head of Music (Celia Matthews) who allowed us to perform it in the end of year school concert. https://youtu.be/r-o7LoKvXDw
Violin Sonata (1975) This was one of my early attempts at composition. I was 16 and attending Laurence Jackson School in Guisborough. Although I was self taught at this point I was lucky enough to have a good violinist as a friend (Tim Aldren) and a supportive Head of Music (Celia Matthews) who allowed us to perform it in the end of year school concert. https://youtu.be/r-o7LoKvXDw
Prelude in Db Major (c.1976) This short piano prelude was written when I was still at school. It is very romantic in style and is all created from the opening two bars. This performance is my own. https://youtu.be/YEGPWVsKhIs
Prelude in Bb Minor (c.1976) This short piano prelude was written when I was still at school. It has harmonic and melodic influences of Debussy and Grieg. This performance is my own. https://youtu.be/GcYO2IDb_uE
Three Fragments for Piano (1976 and 1978)
The first two of these three very short piano pieces were written when I was at school and the third whilst at university.
They each explore different types of harmony yet seem to go together well as a set.
The photographs are from my home town of Guisborough which was then in North Yorkshire.
The performance is my own. https://youtu.be/JSmTJxx9TjY
Clarinet Song (1976 revised 2022)
This piece for Bb Clarinet and piano is a very early attempt at using serial techniques. I wrote it whilst at Sixth Form College, having had some private composition tuition from composer, John Howard who, at the time, was studying for his PhD in composition at Durham University with David Lumsdaine.
This piece remained untitled until I revised it this year (46 years later!). I wrote it for my new and only girlfriend, Julie who soon became my wife and is my lifelong companion. So, despite the piece’s naivety and weaknesses, it has very special significance for me and dare I say, is not without some degree of merit. We did play the piece together all those years ago but, for the time being, this is a Sibelius 7.5 realisation using Noteperformer 3 as the playback engine. https://youtu.be/vQJmYMk_Ah4
The Headingly Quintet (1977)
I wrote this woodwind quintet when I had just arrived at Leeds University in 1977. It was a huge change to my life. I was living in a city for the first time and everything seemed strange, new and exciting if somewhat scary. I remember walking from my Hall of Residence to the Music Department through the wet, leaf-covered streets and trying to come up with ideas for it in my head. It is a serial composition and as a first attempt, has some “bumpy” moments but, 44 years later, I have made slight alterations to make it more playable and to give the musical ideas a chance to “breath”. This realisation is from Sibelius 7.5.1 with NotePerformer 3 as the playback engine.
Two Dialogues for Oboe and Clarinet (1977-8)
Two Dialogues for Oboe and Clarinet (1977-8)
These two duets for oboe and clarinet were written for my wife Julie (then girlfriend) and I to play together. Although there is a year between the composition of the first and second, they both are created from the same (or very similar) opening idea. This performance is a Sibelius 7.5 realisation using Noteperformer 3 as the playback engine.
These two duets for oboe and clarinet were written for my wife Julie (then girlfriend) and I to play together. Although there is a year between the composition of the first and second, they both are created from the same (or very similar) opening idea. This performance is a Sibelius 7.5 realisation using Noteperformer 3 as the playback engine.
The Calming Influence For Wind Quintet (1978)
This piece was written when I was a student at Leeds University and was my second attempt at a wind quintet. It is a serial composition and is a “dialogue” between the flute and the other four instruments. The lyrical music of the flute interacts with the less stable music of the other instruments and gradually influences and calms them.
The painting of Christ calming the storm is by Frans Vandewalle (CC BY-NC-2.0) https://youtu.be/8r7V6trlDKk
Variations (1978 Revised 2022)
Variations (1978 Revised 2022)
For Clarinet, Horn, Piano and String Quartet
For Clarinet, Horn, Piano and String Quartet
This piece was written when I was a Student at Leeds University. It is a serial piece and is a set of 5 variations with a short Coda based upon the 3rd variation. I have now significantly revised the original score, correcting many errors, reshaping some of the melodic lines and re-orchestrating where needed.
This piece was written when I was a Student at Leeds University. It is a serial piece and is a set of 5 variations with a short Coda based upon the 3rd variation. I have now significantly revised the original score, correcting many errors, reshaping some of the melodic lines and re-orchestrating where needed.
The realisation is from Sibelius 7.5.1 using Noteperformer 3 as the playback engine. https://youtu.be/zcMiSs03Qaw
The realisation is from Sibelius 7.5.1 using Noteperformer 3 as the playback engine. https://youtu.be/zcMiSs03Qaw
Time Play (1979) This short piano piece was written whilst I was a student at Leeds University. It uses serial techniques and features the use of the third 'sustainer' pedal. It was performed at a lunchtime concert in the Clothworkers' Centenary Concert Hall. https://youtu.be/K45y9kwdlCI
Time Play (1979) This short piano piece was written whilst I was a student at Leeds University. It uses serial techniques and features the use of the third 'sustainer' pedal. It was performed at a lunchtime concert in the Clothworkers' Centenary Concert Hall. https://youtu.be/K45y9kwdlCI
Dreamscapes (1979) This is a work for orchestra and 7-piece, offstage, brass ensemble that I wrote when I was an undergraduate music student at Leeds University. It was my first attempt at a large scale work. The original title was “Concentric Five”. There are five orchestral sections. Each one is longer than its predecessor and all five are preceded by a short section for the offstage brass group. It is a 12 note composition and all the pitch material was derived from an inversion matrix. There are five underlying pitch rows that are created from the five concentric circles that exist within the matrix, hence the original title. As far as I can remember, further matrices were created from these five main pitch rows. However, some 43 years later, I feel that the original title is not helpful. Having now listened to it properly thanks to the amazing software that we have today I feel that it is like a dream sequence with lots of rapidly changing colours and textures that seem to be disjunct yet also belong together. This realisation is from Sibelius 7.5.1 with NotePerformer 3 as the playback engine.
Dreamscapes (1979) This is a work for orchestra and 7-piece, offstage, brass ensemble that I wrote when I was an undergraduate music student at Leeds University. It was my first attempt at a large scale work. The original title was “Concentric Five”. There are five orchestral sections. Each one is longer than its predecessor and all five are preceded by a short section for the offstage brass group. It is a 12 note composition and all the pitch material was derived from an inversion matrix. There are five underlying pitch rows that are created from the five concentric circles that exist within the matrix, hence the original title. As far as I can remember, further matrices were created from these five main pitch rows. However, some 43 years later, I feel that the original title is not helpful. Having now listened to it properly thanks to the amazing software that we have today I feel that it is like a dream sequence with lots of rapidly changing colours and textures that seem to be disjunct yet also belong together. This realisation is from Sibelius 7.5.1 with NotePerformer 3 as the playback engine.
Reflective Summer (1979) This piece for violin and piano was composed when I was attending Sir Peter Maxwell Davies's international composition master class at Dartington in Devon. It is a serial composition and was performed by the violinist composer, Philip Wilby in the Clothworkers' Centenary Concert Hall in Leeds. https://youtu.be/Tw0BF2ltvZw
Reflective Summer (1979) This piece for violin and piano was composed when I was attending Sir Peter Maxwell Davies's international composition master class at Dartington in Devon. It is a serial composition and was performed by the violinist composer, Philip Wilby in the Clothworkers' Centenary Concert Hall in Leeds. https://youtu.be/Tw0BF2ltvZw
Kirkgate Brass (1980) Written for 12 brass instruments, this piece uses ideas based upon the calls of the market traders in Kirkgate Market in Leeds. The structure is based upon a Leeds skyline. It was performed in the Festival of London and conducted by Oliver Knussen. https://youtu.be/FtPjkZK5Cvs
Kirkgate Brass (1980) Written for 12 brass instruments, this piece uses ideas based upon the calls of the market traders in Kirkgate Market in Leeds. The structure is based upon a Leeds skyline. It was performed in the Festival of London and conducted by Oliver Knussen. https://youtu.be/FtPjkZK5Cvs
The Sunset Poem of Rev. Eli Jenkins (1981) This was written when I was a PhD composition student. I was newly married and living in a back to back terraced house in Leeds. The text is a famous poem from "Under Milk Wood" by Dylan Thomas. This recording was made by Sarah Poole. https://youtu.be/GCz3X3WGfcY
The Sunset Poem of Rev. Eli Jenkins (1981) This was written when I was a PhD composition student. I was newly married and living in a back to back terraced house in Leeds. The text is a famous poem from "Under Milk Wood" by Dylan Thomas. This recording was made by Sarah Poole. https://youtu.be/GCz3X3WGfcY
A Little Suite For Organ (1982) This was written for the eminent organist Ian Hare. I composed it during the Falklands War (2 Apr 1982 – 14 Jun 1982). It is a serial composition in five movements. Prelude - Toccata - Interlude - Chorale and Postlude. The material is all derived from the hymn "Eternal Father Strong To Save". This tune is quoted in the pedal line of the Chorale movement. The final Postlude ends with an idea related to the "Last Post" bugle call. This recording was made in the Great Hall at Lancaster University. https://youtu.be/-UVsRXHjSBo
A Little Suite For Organ (1982) This was written for the eminent organist Ian Hare. I composed it during the Falklands War (2 Apr 1982 – 14 Jun 1982). It is a serial composition in five movements. Prelude - Toccata - Interlude - Chorale and Postlude. The material is all derived from the hymn "Eternal Father Strong To Save". This tune is quoted in the pedal line of the Chorale movement. The final Postlude ends with an idea related to the "Last Post" bugle call. This recording was made in the Great Hall at Lancaster University. https://youtu.be/-UVsRXHjSBo
Dance Fantasia (1982) This piece was commissioned by the new music ensemble "Resonance" directed by the composer John Howard. It was performed as part of a new music concert at St John's Smith Square in London. It is based upon a medieval dance which is heard at the beginning and ending of the piece. https://youtu.be/spOQfoh3pw4
Dance Fantasia (1982) This piece was commissioned by the new music ensemble "Resonance" directed by the composer John Howard. It was performed as part of a new music concert at St John's Smith Square in London. It is based upon a medieval dance which is heard at the beginning and ending of the piece. https://youtu.be/spOQfoh3pw4
Chorale Prelude on St Clement (1982) This organ piece was written in memory of my grandmother. It is based upon her favourite hymn, "The day thou gavest Lord, is ended". It is a serial composition and all the material is derived from the hymn tune. The tune is heard in its original form towards the end of the piece. https://youtu.be/WTqN8h0R6UQ
Chorale Prelude on St Clement (1982) This organ piece was written in memory of my grandmother. It is based upon her favourite hymn, "The day thou gavest Lord, is ended". It is a serial composition and all the material is derived from the hymn tune. The tune is heard in its original form towards the end of the piece. https://youtu.be/WTqN8h0R6UQ
Star Song (1983)
Star Song (1983)
This piano piece was written whilst I was a student studying for my PhD in composition.
This piano piece was written whilst I was a student studying for my PhD in composition.
The piece is in two main sections that are divided by a short Chorale section.
The piece is in two main sections that are divided by a short Chorale section.
All pitches for the music come from a gradually transforming 7 note row and its inversions. Varied repetitions of each transformation of the row are created by treating it cyclically and starting at different positions in the row.
All pitches for the music come from a gradually transforming 7 note row and its inversions. Varied repetitions of each transformation of the row are created by treating it cyclically and starting at different positions in the row.
The first section is a Theme and Variations.
The first section is a Theme and Variations.
There is a 4 bar introduction which is an initial statement of the row. This is followed by the Theme and 10 short variations. Initially the music is very sparse but the textures build up as the amount of pitch material in each variation is increased. It is rather like stars appearing more and more as the night progresses, hence the title. The 10th variation contains the most rapid music and this is followed immediately by a Chorale like setting of the row in its initial form.
There is a 4 bar introduction which is an initial statement of the row. This is followed by the Theme and 10 short variations. Initially the music is very sparse but the textures build up as the amount of pitch material in each variation is increased. It is rather like stars appearing more and more as the night progresses, hence the title. The 10th variation contains the most rapid music and this is followed immediately by a Chorale like setting of the row in its initial form.
This is followed by a single, longer section of music which, although similar in some ways to the first section, is generally much more relaxed in feeling. It is still based upon the row in its various forms but in this section, there is the gradual emergence of a low G pedal point which anchors the music to this tonal centre and is the note that ends the piece.
This is followed by a single, longer section of music which, although similar in some ways to the first section, is generally much more relaxed in feeling. It is still based upon the row in its various forms but in this section, there is the gradual emergence of a low G pedal point which anchors the music to this tonal centre and is the note that ends the piece.
The performance is from Sibelius 7.5.1 with Noteperformer 3 as the playback engine
The performance is from Sibelius 7.5.1 with Noteperformer 3 as the playback engine
Pegasus (1985) This solo piano piece was written for dance. I composed it very quickly when I was working alongside a contemporary ballet company who were doing a workshop for the dance students of the college where I was working in Knowsley. I was asked for fast energetic music and the overriding repeating rhythm reminded me of the galloping of horses hooves hence the title. https://youtu.be/DXhEmoXF4_E
Pegasus (1985) This solo piano piece was written for dance. I composed it very quickly when I was working alongside a contemporary ballet company who were doing a workshop for the dance students of the college where I was working in Knowsley. I was asked for fast energetic music and the overriding repeating rhythm reminded me of the galloping of horses hooves hence the title. https://youtu.be/DXhEmoXF4_E
Fantasia on "Nun Danket" (1986) This short orchestral piece was commissioned by the "Friends of the Knowsley Youth Orchestras and Choirs" and was performed by the Knowsley Youth Orchestra in the Royal Liverpool Philharmonic Hall as part of their annual Christmas concert with myself conducting. It was written to celebrate the birth of my daughter and all the material for the work is derived from the melody of "Now Thank We All Our God" the "Old 100th". Sadly, the recording of the work was lost before I ever heard it. This quite convincing realisation is Sibelius 7.5.1 using Noteperformer as the sound engine. https://youtu.be/nPcAVmsVSmM
Fantasia on "Nun Danket" (1986) This short orchestral piece was commissioned by the "Friends of the Knowsley Youth Orchestras and Choirs" and was performed by the Knowsley Youth Orchestra in the Royal Liverpool Philharmonic Hall as part of their annual Christmas concert with myself conducting. It was written to celebrate the birth of my daughter and all the material for the work is derived from the melody of "Now Thank We All Our God" the "Old 100th". Sadly, the recording of the work was lost before I ever heard it. This quite convincing realisation is Sibelius 7.5.1 using Noteperformer as the sound engine. https://youtu.be/nPcAVmsVSmM
The Rock (1987) This music was written for dance when I was working at Knowsley Central Tertiary College near Liverpool. The work was performed by dance students at the college but sadly, there is no recording of the original choreography.
The Rock (1987) This music was written for dance when I was working at Knowsley Central Tertiary College near Liverpool. The work was performed by dance students at the college but sadly, there is no recording of the original choreography.
This is an improvisatory piece of “musique concrete” that uses recorded sounds as the raw material. It was produced with very limited resources that were available to me at the college.
This is an improvisatory piece of “musique concrete” that uses recorded sounds as the raw material. It was produced with very limited resources that were available to me at the college.
The rock used in the current video is the “Kielder Stone” in Northumberland. This is a giant bedrock stone, weighing about 1400 tons, which is right on the English-Scottish border. https://youtu.be/-OrzUTlH-tU
The rock used in the current video is the “Kielder Stone” in Northumberland. This is a giant bedrock stone, weighing about 1400 tons, which is right on the English-Scottish border. https://youtu.be/-OrzUTlH-tU
The Owl and the Pussycat (1991) This setting of Edward Lear's famous nonsense poem was written when I was working at Kirby College in Middlesbrough. It was recorded by an exceptionally talented student, Sarah Poole. https://youtu.be/Wcbx7OYbQGs
The Owl and the Pussycat (1991) This setting of Edward Lear's famous nonsense poem was written when I was working at Kirby College in Middlesbrough. It was recorded by an exceptionally talented student, Sarah Poole. https://youtu.be/Wcbx7OYbQGs
Requiem Cantus (1991) This was composed when I was teaching at Kirby College in Middlesbrough. The Soprano is Sarah Poole, and the guitarist is Richard Crawshaw who were students at the time. The background vocals are my own voice. The piece was constructed using multi-tracking in the studio. It is dedicated to the memory of my father in law, Jim Bean. https://youtu.be/v_yWjh0AaNU
Requiem Cantus (1991) This was composed when I was teaching at Kirby College in Middlesbrough. The Soprano is Sarah Poole, and the guitarist is Richard Crawshaw who were students at the time. The background vocals are my own voice. The piece was constructed using multi-tracking in the studio. It is dedicated to the memory of my father in law, Jim Bean. https://youtu.be/v_yWjh0AaNU
A Song Without Words (1992)
A Song Without Words (1992)
This is a short piano piece that was originally untitled and undated. It comprises a melodic line that is accompanied by a single recurring chord. The chord is an augmented chord on C. Otherwise, the piece was freely written and unlike many of my earlier works, does not use serialism but it is still atonal with no clear sense of a tonal centre. As such the piece has a ‘floating’ feel to it.
This is a short piano piece that was originally untitled and undated. It comprises a melodic line that is accompanied by a single recurring chord. The chord is an augmented chord on C. Otherwise, the piece was freely written and unlike many of my earlier works, does not use serialism but it is still atonal with no clear sense of a tonal centre. As such the piece has a ‘floating’ feel to it.
The performance of this piece is followed by a creative orchestration of it that I did in 1992. I did this as an exercise in orchestral textures and there are definitely sounds that pre-empt my Symphonic Fantasy that was written much later. The realisation of the orchestration is from Sibelius 7.5 with NotePerformer 3 as the playback engine.
The performance of this piece is followed by a creative orchestration of it that I did in 1992. I did this as an exercise in orchestral textures and there are definitely sounds that pre-empt my Symphonic Fantasy that was written much later. The realisation of the orchestration is from Sibelius 7.5 with NotePerformer 3 as the playback engine.
Seven Moments on the Cross - For Organ Solo (1993)
Seven Moments on the Cross - For Organ Solo (1993)
This is a 7 section piece for organ with the musical material derived from the hymn tune “Horsley” (There is a Green Hill Far Away).
This is a 7 section piece for organ with the musical material derived from the hymn tune “Horsley” (There is a Green Hill Far Away).
The original hymn tune is in the pedal part and is perhaps most evident in the central fourth section, in which the hands play toccata-like music over the first phrase of the hymn tune,
The original hymn tune is in the pedal part and is perhaps most evident in the central fourth section, in which the hands play toccata-like music over the first phrase of the hymn tune,
The seven short sections are arranged in chiasmic (Cross) form i.e. symmetrically around the central fourth section. This structural religious symbolism was used by Bach in some of his Cantatas.
The seven short sections are arranged in chiasmic (Cross) form i.e. symmetrically around the central fourth section. This structural religious symbolism was used by Bach in some of his Cantatas.
In this music I am trying to capture both the cruelty and poignancy of the crucifixion of Christ.
In this music I am trying to capture both the cruelty and poignancy of the crucifixion of Christ.
This recording was made by myself (with a little computer help) on my Makin organ that I have at home.
This recording was made by myself (with a little computer help) on my Makin organ that I have at home.
Mary's Lullaby (1994) This song sets the opening of the Latin text "Ave Maria" and the song "Sweet was the song the virgin sang". It was written for a local singer and acquaintance whilst I was working at Middlesbrough College. Unfortunately, he never recorded it and the recording here is my attempt at both voice and piano. https://youtu.be/LCNU7G5AnYc
Mary's Lullaby (1994) This song sets the opening of the Latin text "Ave Maria" and the song "Sweet was the song the virgin sang". It was written for a local singer and acquaintance whilst I was working at Middlesbrough College. Unfortunately, he never recorded it and the recording here is my attempt at both voice and piano. https://youtu.be/LCNU7G5AnYc
Nocturne (1998) This is s short piece for solo piano. It is performed by Catherine Bourne who was then a student of mine at Middlesbrough College. https://youtu.be/rV-MR8CbtXU
Nocturne (1998) This is s short piece for solo piano. It is performed by Catherine Bourne who was then a student of mine at Middlesbrough College. https://youtu.be/rV-MR8CbtXU
In Paradisum (2002) This is a short setting for chamber choir SSATB. Is is performed by the Stokesley School Madrigal Choir conducted by Paul Busby. https://youtu.be/AAr_46-LVfs
In Paradisum (2002) This is a short setting for chamber choir SSATB. Is is performed by the Stokesley School Madrigal Choir conducted by Paul Busby. https://youtu.be/AAr_46-LVfs
Suffer The Children (2007) This cantata was an emotional and spiritual response to the siege of a school in Russia, by Chechen rebels and the resulting death of 186 children.
Suffer The Children (2007) This cantata was an emotional and spiritual response to the siege of a school in Russia, by Chechen rebels and the resulting death of 186 children.
The cantata is concerned with the thoughts and emotions of a bereaved parent. It begins with darkness and despair yet ends with a feeling of hope and rejoicing. The text combines fragments of the Requiem Mass with the poetry of one of my relatives following the death of her son. The final Lullaby is a Cradle Song by Isaac Watts.
The cantata is concerned with the thoughts and emotions of a bereaved parent. It begins with darkness and despair yet ends with a feeling of hope and rejoicing. The text combines fragments of the Requiem Mass with the poetry of one of my relatives following the death of her son. The final Lullaby is a Cradle Song by Isaac Watts.
The Baritone represents the bereaved parent and the work is in seven movements following a short introduction. The usual joy of the Easter message is dragged down by the parent’s grief. The Burial depicts cold and emptiness, and the chorus sing fragments of the Requiem as the Baritone remembers the life of his child.
The Baritone represents the bereaved parent and the work is in seven movements following a short introduction. The usual joy of the Easter message is dragged down by the parent’s grief. The Burial depicts cold and emptiness, and the chorus sing fragments of the Requiem as the Baritone remembers the life of his child.
Following The Lord’s Prayer, the grief of the parent turns to despair, in Where?. Here the chorus have two roles. First they reinforce the anger of the parent, via rhythmically repetitive phrases. Then, after a silence, they become the comforter with Jesus’ words: “Suffer the children to come unto me.” The anger in the parent subsides as he sings to his dead child: “O my child, my precious child, where are you now? Hush my dear!”
Following The Lord’s Prayer, the grief of the parent turns to despair, in Where?. Here the chorus have two roles. First they reinforce the anger of the parent, via rhythmically repetitive phrases. Then, after a silence, they become the comforter with Jesus’ words: “Suffer the children to come unto me.” The anger in the parent subsides as he sings to his dead child: “O my child, my precious child, where are you now? Hush my dear!”
The Message is the turning point of the work. The Soprano solo represents the spirit of the dead child who tells his father not to be sad because he is free of worldly troubles. As a spirit he can be with his father at all times. In Paradisum represents the peaceful passing of the soul into Paradise.
The Message is the turning point of the work. The Soprano solo represents the spirit of the dead child who tells his father not to be sad because he is free of worldly troubles. As a spirit he can be with his father at all times. In Paradisum represents the peaceful passing of the soul into Paradise.
The Lord Shall Wipe Away The Tears heralds the optimism of the words “Christ is risen!” and “Spring is here!” and this is reinforced with a triumphant, fugal “Alleluia”.
The Lord Shall Wipe Away The Tears heralds the optimism of the words “Christ is risen!” and “Spring is here!” and this is reinforced with a triumphant, fugal “Alleluia”.
The final Lullaby is for voices and muted strings. The parent and child join together and with the chorus are united in their love for each other.
The final Lullaby is for voices and muted strings. The parent and child join together and with the chorus are united in their love for each other.
This was performed and recorded in Stockton Parish Church by the Tees Valley Youth Choir and Orchestra. The Baritone is Dominic Barberi and the Soprano is Rowan Pierce It is conducted by John Forsyth MBE. https://youtu.be/aMJmSoOGPNs
This was performed and recorded in Stockton Parish Church by the Tees Valley Youth Choir and Orchestra. The Baritone is Dominic Barberi and the Soprano is Rowan Pierce It is conducted by John Forsyth MBE. https://youtu.be/aMJmSoOGPNs
Sleepy Girl (2007) This is a setting of a poem written by my relative, Sheilagh Banner. It is about her daughter Victoria who is my Goddaughter.
Sleepy Girl (2007) This is a setting of a poem written by my relative, Sheilagh Banner. It is about her daughter Victoria who is my Goddaughter.
Tom (2007) Tom was my Goddaughter's brother. Sadly, he died when very young. This is a setting of a poem written by his mother, and my relative, Sheilagh Banner. The song is dedicated to his memory. The bass soloist is Dominic Barberi. https://youtu.be/p_1biREWYws
Tom (2007) Tom was my Goddaughter's brother. Sadly, he died when very young. This is a setting of a poem written by his mother, and my relative, Sheilagh Banner. The song is dedicated to his memory. The bass soloist is Dominic Barberi. https://youtu.be/p_1biREWYws
A Rhythmic Rondo (2008)
A Rhythmic Rondo (2008)
This is a piece for trumpet and piano that I wrote for Anna Puttick, the daughter of a family friend. I wanted to write a piece that she would really enjoy playing and when I asked her about what sort of music she would like she mentioned Leonard Bernstein’s song “America” from West Side Story. This features the alternation of 6/8 and ¾ time rhythms so I decided to do something with a similar rhythmic feel. The piece is written in a Rondo form albeit not strict. Until I find the recording of the live performance that she gave of this piece, here is a Sibelius 7.5.1 realisation. https://youtu.be/HfWlBynY2KE
This is a piece for trumpet and piano that I wrote for Anna Puttick, the daughter of a family friend. I wanted to write a piece that she would really enjoy playing and when I asked her about what sort of music she would like she mentioned Leonard Bernstein’s song “America” from West Side Story. This features the alternation of 6/8 and ¾ time rhythms so I decided to do something with a similar rhythmic feel. The piece is written in a Rondo form albeit not strict. Until I find the recording of the live performance that she gave of this piece, here is a Sibelius 7.5.1 realisation. https://youtu.be/HfWlBynY2KE
Song Cycle for voice and guitar (2009) This was commissioned by my friend, the guitarist and conductor, John Forsyth MBE. It is a cycle of three songs about life, death and love. The poems that I set are: Leisure by W.H. Davies; Code Poem for the French Resistance by Leo Marks and Remember Me by Christina Rossetti. The soprano is Rowan Pierce. https://youtu.be/Lb7gfLa6LGk
Song Cycle for voice and guitar (2009) This was commissioned by my friend, the guitarist and conductor, John Forsyth MBE. It is a cycle of three songs about life, death and love. The poems that I set are: Leisure by W.H. Davies; Code Poem for the French Resistance by Leo Marks and Remember Me by Christina Rossetti. The soprano is Rowan Pierce. https://youtu.be/Lb7gfLa6LGk
In the Land of the Bumbley Boo (2010) This setting of Spike Milligan's poem is "a bit of fun" that I wrote for barbershop quartet. This performance was done by students at York University in one of the Music Department's concerts. https://youtu.be/iSNhXi-rJnk
In the Land of the Bumbley Boo (2010) This setting of Spike Milligan's poem is "a bit of fun" that I wrote for barbershop quartet. This performance was done by students at York University in one of the Music Department's concerts. https://youtu.be/iSNhXi-rJnk
Five Fragments for Piano (2010) This was a compositional "experiment" to see how I would react to writing a piece based upon serial techniques like those I had used as a student in the 80s. I created a five note row and created an inversion matrix from it. Each of the five sections progresses through the matrix in a different way. The five sections create an "arch" structure with sections 1,3 and 5 being very gentle and in stark contrast to sections 2 and 4. In truth, I was pleasantly surprised at the result. https://youtu.be/jGOaLYT3ffg
Five Fragments for Piano (2010) This was a compositional "experiment" to see how I would react to writing a piece based upon serial techniques like those I had used as a student in the 80s. I created a five note row and created an inversion matrix from it. Each of the five sections progresses through the matrix in a different way. The five sections create an "arch" structure with sections 1,3 and 5 being very gentle and in stark contrast to sections 2 and 4. In truth, I was pleasantly surprised at the result. https://youtu.be/jGOaLYT3ffg
Organ Suite (2010) This is a short four movement suite for the organ. The opening "Fanfare" has been published as part of a collection entitled "Organ Music for Joyful Moments" as a result of being selected as one of the winners of an international competition run by Tim Knight Music https://www.timknightmusic.com/ . This performance is given by myself on an organ built by Makin that uses samples of real pipe organ sounds. The organ case in the photo is just something to look at. https://youtu.be/fal5m1nsa4A
Organ Suite (2010) This is a short four movement suite for the organ. The opening "Fanfare" has been published as part of a collection entitled "Organ Music for Joyful Moments" as a result of being selected as one of the winners of an international competition run by Tim Knight Music https://www.timknightmusic.com/ . This performance is given by myself on an organ built by Makin that uses samples of real pipe organ sounds. The organ case in the photo is just something to look at. https://youtu.be/fal5m1nsa4A
Life (2011) This is a setting of five poems that reflect the cycle of life. It was written for one of my students, Rachel Wyllie, who was studying for her Masters degree in singing at York University. It is rather like a string quartet but with the viola replaced by the singer. The string instruments and the voice all work as equal partners.
Life (2011) This is a setting of five poems that reflect the cycle of life. It was written for one of my students, Rachel Wyllie, who was studying for her Masters degree in singing at York University. It is rather like a string quartet but with the viola replaced by the singer. The string instruments and the voice all work as equal partners.
The songs are quite freely ‘through composed’ with relatively little conventional structuring. I have tried to ‘paint’ the words of the poem and reflect the moods with my use of melodic shapes and harmonies.
The songs are quite freely ‘through composed’ with relatively little conventional structuring. I have tried to ‘paint’ the words of the poem and reflect the moods with my use of melodic shapes and harmonies.
The first song, ‘Day Birth’ is written in the free, somewhat operatic style, at times reminiscent of ‘recitativo stromentato’.
The first song, ‘Day Birth’ is written in the free, somewhat operatic style, at times reminiscent of ‘recitativo stromentato’.
‘Life Within You’ uses pizzicato strings throughout and is rather more regular in composition to reflect the liveliness and innocence of a developing baby.
‘Life Within You’ uses pizzicato strings throughout and is rather more regular in composition to reflect the liveliness and innocence of a developing baby.
In ‘Life’ the changes of mood in the poem are reflected by changes of momentum in the music.
In ‘Life’ the changes of mood in the poem are reflected by changes of momentum in the music.
The setting of the well-known poem, ‘Do Not Stand at my Grave and Weep’ uses an opening phrase that was written by Rachel. It is taken from her own setting of this poem that she wrote as part of her A Level music examination.
The setting of the well-known poem, ‘Do Not Stand at my Grave and Weep’ uses an opening phrase that was written by Rachel. It is taken from her own setting of this poem that she wrote as part of her A Level music examination.
The cycle is completed with ‘Birth of a new Day’ and passages of the freer style of writing are prevalent in this song as they were in the first.
The cycle is completed with ‘Birth of a new Day’ and passages of the freer style of writing are prevalent in this song as they were in the first.
This performance was given as part of the recital that Rachel gave for her Masters degree examination. The string players were also students at the university. https://youtu.be/4VhmIdHf990
This performance was given as part of the recital that Rachel gave for her Masters degree examination. The string players were also students at the university. https://youtu.be/4VhmIdHf990
Sonata for Flute and Cello (2012)
Sonata for Flute and Cello (2012)
This sonata is in a conventional four movement structure. Allegro; Andante con moto; Allegretto and Presto. The piece began as the flute motif that opens movement two. This came to me as I was flying back to Britain from a holiday in Italy and we had stayed on the island of Ischia and visited the home of the British composer William Walton. Having written this slow movement I decided to create the other three to make a sonata. The music is all freely composed. N.B. This recording is a Sibelius 7.5.1 realisation. https://youtu.be/7wEu4tBAA7A
This sonata is in a conventional four movement structure. Allegro; Andante con moto; Allegretto and Presto. The piece began as the flute motif that opens movement two. This came to me as I was flying back to Britain from a holiday in Italy and we had stayed on the island of Ischia and visited the home of the British composer William Walton. Having written this slow movement I decided to create the other three to make a sonata. The music is all freely composed. N.B. This recording is a Sibelius 7.5.1 realisation. https://youtu.be/7wEu4tBAA7A
Symphonic Fantasy (2016)
Symphonic Fantasy (2016)
This work was written as a compositional “Everest Challenge”. I felt that I needed to prove to myself that I could write a very long piece for large orchestra. It is about 33 minutes long. It took me many years to complete but this is the result.
This work was written as a compositional “Everest Challenge”. I felt that I needed to prove to myself that I could write a very long piece for large orchestra. It is about 33 minutes long. It took me many years to complete but this is the result.
The piece is structured around an emerging all-interval chord. It begins with just two notes (pitches) heard at the opening and from these, it simultaneously ascends and descends. Each transformation or development of the chord is marked by a loud note from the tubular bells. These chords serve to divide the piece into different sections.
The piece is structured around an emerging all-interval chord. It begins with just two notes (pitches) heard at the opening and from these, it simultaneously ascends and descends. Each transformation or development of the chord is marked by a loud note from the tubular bells. These chords serve to divide the piece into different sections.
The chords are spaced out in accordance with the Fibernaci series, getting closer and closer and the full all-interval chord is placed at the Golden Section of the piece. From this point onwards we hear a more peaceful condensed recapitulation of the larger first section. Within these structural constraints I composed feely right up until the full version of the chord. I took the pitches of the chord as my source of melodic and harmonic material. In the second, recapitulating, section I used serial techniques. What is interesting to me is that this still works! I was still able to make the sounds that I wanted and there is no obvious difference, to me, in the effect of the two sections.
The chords are spaced out in accordance with the Fibernaci series, getting closer and closer and the full all-interval chord is placed at the Golden Section of the piece. From this point onwards we hear a more peaceful condensed recapitulation of the larger first section. Within these structural constraints I composed feely right up until the full version of the chord. I took the pitches of the chord as my source of melodic and harmonic material. In the second, recapitulating, section I used serial techniques. What is interesting to me is that this still works! I was still able to make the sounds that I wanted and there is no obvious difference, to me, in the effect of the two sections.
Maybe one day I will be lucky enough to hear a live performance of this work. Until then, this Sibelius 7.5.1 realisation using the Noteperformer playback engine is surprisingly realistic and the best I can do. https://youtu.be/RC7UThLnFcs
Maybe one day I will be lucky enough to hear a live performance of this work. Until then, this Sibelius 7.5.1 realisation using the Noteperformer playback engine is surprisingly realistic and the best I can do. https://youtu.be/RC7UThLnFcs
String Quartet in Classical Style (2017) I wrote this quartet as a test for myself. I wanted to see if I could compose using forms and techniques taken from previous musical styles. The forms are all based upon those of the Classical period but some of the musical language is influenced by other stylistic eras.
String Quartet in Classical Style (2017) I wrote this quartet as a test for myself. I wanted to see if I could compose using forms and techniques taken from previous musical styles. The forms are all based upon those of the Classical period but some of the musical language is influenced by other stylistic eras.
Movement I Sostenuto e molto legato - Allegro
Movement I Sostenuto e molto legato - Allegro
This movement is in Sonata Form with a slow introduction. When composing this movement I was thinking very much of the opening of the Razamovsky Quartet Op.59 No. 1 by Beethoven that I had studied as an A level music student which has the First Subject theme beginning in the cello.
This movement is in Sonata Form with a slow introduction. When composing this movement I was thinking very much of the opening of the Razamovsky Quartet Op.59 No. 1 by Beethoven that I had studied as an A level music student which has the First Subject theme beginning in the cello.
Movement II Andante
Movement II Andante
This is in Ternary Form and the melody is given to the 2nd violin and viola for much of this movement. There is an (accidental/subconscious) direct quote from the Beethoven Razamovski quartet at the end of this movement.
This is in Ternary Form and the melody is given to the 2nd violin and viola for much of this movement. There is an (accidental/subconscious) direct quote from the Beethoven Razamovski quartet at the end of this movement.
Movement III Allegro
Movement III Allegro
This is in Scherzo and Trio form, typical of many Beethoven third movements but harmonically, I was also thinking of the angular shifts that can be found in the music of Prokofiev.
This is in Scherzo and Trio form, typical of many Beethoven third movements but harmonically, I was also thinking of the angular shifts that can be found in the music of Prokofiev.
Movement IV Sostenuto e molto legato – Molto Allegro
Movement IV Sostenuto e molto legato – Molto Allegro
This is a dance like movement but I revisit the slow opening of the first movement. The simple repetitive accompanying rhythm of the dance theme is typical of many Early Music dances.
This is a dance like movement but I revisit the slow opening of the first movement. The simple repetitive accompanying rhythm of the dance theme is typical of many Early Music dances.
N.B. The recording and video is a computer realisation using Sibelius 7.5.1 https://youtu.be/4CL4Eb2Ne_A
N.B. The recording and video is a computer realisation using Sibelius 7.5.1 https://youtu.be/4CL4Eb2Ne_A
Romance for Tenor Horn (2019) This piece was written specially for my dear friend Helen Peacock who is performing it here at one of the Harrison Singers & Band concerts at All Saints Parish Church in Middlesbrough. It uses material from the hymn tune Slane. https://youtu.be/sLQQh_LkJCQ
Romance for Tenor Horn (2019) This piece was written specially for my dear friend Helen Peacock who is performing it here at one of the Harrison Singers & Band concerts at All Saints Parish Church in Middlesbrough. It uses material from the hymn tune Slane. https://youtu.be/sLQQh_LkJCQ
Two Miniatures for Violin & Piano(2020) These two pieces are to be performed as a pair. They are written in jazz styles and are for violin and piano. I wrote them as a gift for my colleague and friend Claire Hall. When we are able to record them I will publish the recording. Until then, this is a Sibelius 7.5.1 realization using Noteperformer 3 as the playback engine.
Two Miniatures for Violin & Piano(2020) These two pieces are to be performed as a pair. They are written in jazz styles and are for violin and piano. I wrote them as a gift for my colleague and friend Claire Hall. When we are able to record them I will publish the recording. Until then, this is a Sibelius 7.5.1 realization using Noteperformer 3 as the playback engine.
The first piece is entitled Towards the Rainbow and the material is derived from the popular song "Somewhere over the Rainbow". It was written during the first Covid 19 pandemic lockdown in the spring of 2020 when the rainbow had been adopted nationally as a sign of hope.
The first piece is entitled Towards the Rainbow and the material is derived from the popular song "Somewhere over the Rainbow". It was written during the first Covid 19 pandemic lockdown in the spring of 2020 when the rainbow had been adopted nationally as a sign of hope.
The second piece is a Joyful Song and looks optimistically towards a positive future when the virus has been well and truly beaten. https://youtu.be/jkbRphICNSM
The second piece is a Joyful Song and looks optimistically towards a positive future when the virus has been well and truly beaten. https://youtu.be/jkbRphICNSM
Two Miniatures for Violin & Piano(2020) [Flute adaptation] These two pieces are to be performed as a pair. They are written in jazz styles and were originally for violin and piano. I wrote them as a gift for my colleague and friend Claire Hall. When we are able to record them I will publish the recording. Until then, this is a Sibelius 7.5.1 realization of an adaptation for flute and piano that I made for my daughter Cat Cutler.
Two Miniatures for Violin & Piano(2020) [Flute adaptation] These two pieces are to be performed as a pair. They are written in jazz styles and were originally for violin and piano. I wrote them as a gift for my colleague and friend Claire Hall. When we are able to record them I will publish the recording. Until then, this is a Sibelius 7.5.1 realization of an adaptation for flute and piano that I made for my daughter Cat Cutler.
The first piece is entitled Towards the Rainbow and the material is derived from the popular song "Somewhere over the Rainbow". It was written during the first Covid 19 pandemic lockdown in the spring of 2020 when the rainbow had been adopted nationally as a sign of hope.
The first piece is entitled Towards the Rainbow and the material is derived from the popular song "Somewhere over the Rainbow". It was written during the first Covid 19 pandemic lockdown in the spring of 2020 when the rainbow had been adopted nationally as a sign of hope.
The second piece is a Joyful Song and looks optimistically towards a positive future when the virus has been well and truly beaten. https://youtu.be/AolrNBlF8Ac
The second piece is a Joyful Song and looks optimistically towards a positive future when the virus has been well and truly beaten. https://youtu.be/AolrNBlF8Ac
Romance for Oboe and Piano (2021) This short Romance for Oboe and Piano was written during the third lockdown due to the Covid pandemic. It is unashamedly romantic in style and takes its inspiration from various established oboe works by composers such as Schumann and Richard Strauss.
Romance for Oboe and Piano (2021) This short Romance for Oboe and Piano was written during the third lockdown due to the Covid pandemic. It is unashamedly romantic in style and takes its inspiration from various established oboe works by composers such as Schumann and Richard Strauss.
I have written it for my friend and colleague, the oboist Philip Cull. I hope that one day we will have a recording of him playing the piece but until then, here is a Sibelius 7.5.1 realisation. https://youtu.be/OE5EKk1LvSM
I have written it for my friend and colleague, the oboist Philip Cull. I hope that one day we will have a recording of him playing the piece but until then, here is a Sibelius 7.5.1 realisation. https://youtu.be/OE5EKk1LvSM
Prelude in Eb Minor (2021) This short piano prelude was written during the third covid lockdown in the winter, February 2021. It takes it's inspiration from the E minor Prelude by Chopin. It is a very simple piece and reflects the feeling of of being stuck in the lockdown at this cold time of year. The piece features a recurring Gb that is present in every chord of the piece and acts like a "pedal point" stopping the music from getting anywhere. https://youtu.be/wTHAQYA7a_s
Prelude in Eb Minor (2021) This short piano prelude was written during the third covid lockdown in the winter, February 2021. It takes it's inspiration from the E minor Prelude by Chopin. It is a very simple piece and reflects the feeling of of being stuck in the lockdown at this cold time of year. The piece features a recurring Gb that is present in every chord of the piece and acts like a "pedal point" stopping the music from getting anywhere. https://youtu.be/wTHAQYA7a_s
Prelude in E minor (2021)
Prelude in E minor (2021)
This piano prelude is highly influenced by the structures and key relationships of the Classical Era. It is in an “Arch” Form: ABCBCA. At the very beginning of the piece in the upper line there is a motive taken from the Eb minor Prelude. This performance is a Sibelius 7.5.1 realisation. https://youtu.be/Dj8h2ycVaHg
This piano prelude is highly influenced by the structures and key relationships of the Classical Era. It is in an “Arch” Form: ABCBCA. At the very beginning of the piece in the upper line there is a motive taken from the Eb minor Prelude. This performance is a Sibelius 7.5.1 realisation. https://youtu.be/Dj8h2ycVaHg
Prelude in C major (2021)
Prelude in C major (2021)
This short prelude for piano is quite song-like in nature. I wanted to use harmonies that were more “me” in style yet would allow the music to stay firmly in the major key. I achieved this by building all the harmony of the piece from perfect fifths (or their inversion, 4ths). https://youtu.be/cqcAi1_4SUk
This short prelude for piano is quite song-like in nature. I wanted to use harmonies that were more “me” in style yet would allow the music to stay firmly in the major key. I achieved this by building all the harmony of the piece from perfect fifths (or their inversion, 4ths). https://youtu.be/cqcAi1_4SUk
Prelude in F# major (2021)
Prelude in F# major (2021)
I found this short but highly chromatic piano prelude very difficult to compose. The music keeps trying to move away from tonal centre of F# Major but in the end the home key prevails. This performance is a Sibelius 7.5.1 realisation. https://youtu.be/OVKcO1TGl9o
I found this short but highly chromatic piano prelude very difficult to compose. The music keeps trying to move away from tonal centre of F# Major but in the end the home key prevails. This performance is a Sibelius 7.5.1 realisation. https://youtu.be/OVKcO1TGl9o
A Sonic Journey, For Orchestra (2021)
A Sonic Journey, For Orchestra (2021)
This short orchestral piece is based upon music that was specially written for a planetarium show for the visually impaired. "Audio Universe: Tour of the Solar System". The starting point was to find some pitches that would represent the Sun and the eight planets. The smaller rocky planets are represented by higher pitches and the gas giants by much lower pitches. The choice of pitches was based on my musical judgment so that when the Sun and all the planets were heard together, it would produce an exciting sound. I ended up with a very low note for the Sun, which would act as a drone and hold everything together just as the sun holds the solar system together.
This short orchestral piece is based upon music that was specially written for a planetarium show for the visually impaired. "Audio Universe: Tour of the Solar System". The starting point was to find some pitches that would represent the Sun and the eight planets. The smaller rocky planets are represented by higher pitches and the gas giants by much lower pitches. The choice of pitches was based on my musical judgment so that when the Sun and all the planets were heard together, it would produce an exciting sound. I ended up with a very low note for the Sun, which would act as a drone and hold everything together just as the sun holds the solar system together.
Our advisor for making sure this worked for blind and vision impaired children, Amrit, told us that the rocky planets should sound different to the gas giants and use recognisable sounds. So, we chose woodwind instruments for the rocky planets and brass instruments for the gas giants. In the show, the sound of the Sun is quite different and is a mixture of synthetic and pre-recorded sounds. I used these pitches and instruments to make the music for the show. I wanted the music to be exciting and also represent the vastness of space. The music begins and ends with the low drone of the Sun on the double basses. The music for the four rocky planets is in a dark minor key which contrasts with the brighter major music for the Gas Giants. The four notes of the rocky planets become the main theme for the music and the crescendo of music leading into the Gas Giants section is used to represent the taking off of the spaceship.
Our advisor for making sure this worked for blind and vision impaired children, Amrit, told us that the rocky planets should sound different to the gas giants and use recognisable sounds. So, we chose woodwind instruments for the rocky planets and brass instruments for the gas giants. In the show, the sound of the Sun is quite different and is a mixture of synthetic and pre-recorded sounds. I used these pitches and instruments to make the music for the show. I wanted the music to be exciting and also represent the vastness of space. The music begins and ends with the low drone of the Sun on the double basses. The music for the four rocky planets is in a dark minor key which contrasts with the brighter major music for the Gas Giants. The four notes of the rocky planets become the main theme for the music and the crescendo of music leading into the Gas Giants section is used to represent the taking off of the spaceship.
A Sonic Journey was created by adding a new, contrasting, yet strongly linked idea to the music that had already been written for the show.
A Sonic Journey was created by adding a new, contrasting, yet strongly linked idea to the music that had already been written for the show.
This is a Sibelius 7.5.1 realisation using the Noteperformer playback engine.
This is a Sibelius 7.5.1 realisation using the Noteperformer playback engine.
Prelude in C Minor (2022)
Prelude in C Minor (2022)
This piano prelude was written in March 2022 when Putin sent the Russian army to invade Ukraine. It is highly Romantic in style and a sense of unrest is created by the conflict between the triple and quadruple meter. This performance is my own.https://youtu.be/mAVqlQCLLHo
This piano prelude was written in March 2022 when Putin sent the Russian army to invade Ukraine. It is highly Romantic in style and a sense of unrest is created by the conflict between the triple and quadruple meter. This performance is my own.https://youtu.be/mAVqlQCLLHo
Prelude in D Major (2022)
Prelude in D Major (2022)
This Prelude for piano was written for my wife Julie as a Birthday present and to celebrate our life and love together which has lasted over 45 years to date. It is reminiscent of a film theme and uses gentle jazz harmony of 7th, 9th and 11th chords.
This Prelude for piano was written for my wife Julie as a Birthday present and to celebrate our life and love together which has lasted over 45 years to date. It is reminiscent of a film theme and uses gentle jazz harmony of 7th, 9th and 11th chords.
Study in G Minor for Solo Oboe (2022)
Study in G Minor for Solo Oboe (2022)
This short study was written because I wanted to write for solo oboe and it just seemed a good starting point. It is in a typical oboe study style but hopefully, stands as a piece in its own right.
This short study was written because I wanted to write for solo oboe and it just seemed a good starting point. It is in a typical oboe study style but hopefully, stands as a piece in its own right.
This is a Sibelius 7.5.1 realisation using the Noteperformer playback engine. https://youtu.be/GeDFP-pYe7c
This is a Sibelius 7.5.1 realisation using the Noteperformer playback engine. https://youtu.be/GeDFP-pYe7c
Sinfonietta for String Orchestra (2022)
Sinfonietta for String Orchestra (2022)
This piece was the result of a mutual challenge between myself and a friend who we met at University back in the late 1970’s. She is a visual artist and like myself, needs to keep creating. However, we are also very similar in our lack of self-confidence. We decided to challenge ourselves to create a work by Christmas that would “extend our boundaries”. She was to paint something in acrylic and I was to write for strings.
This piece was the result of a mutual challenge between myself and a friend who we met at University back in the late 1970’s. She is a visual artist and like myself, needs to keep creating. However, we are also very similar in our lack of self-confidence. We decided to challenge ourselves to create a work by Christmas that would “extend our boundaries”. She was to paint something in acrylic and I was to write for strings.
All the material for my piece comes from either the idea in the opening four bars or the bass idea in the first bar of the Allegro at b.34. Everything in the entire piece grows from these “seeds”. There is a conventional four movement structure including a traditional Minuet & Trio for the third movement. The music is strongly rooted in C using a conventional key plan for the four movements of: C minor – C major- Eb major and C minor (with a Major Coda at the end). Movement 2 mourns the loss of our great Queen Elizabeth II and the dedication of the work reads, “For Carol, with my deepest thanks.”
All the material for my piece comes from either the idea in the opening four bars or the bass idea in the first bar of the Allegro at b.34. Everything in the entire piece grows from these “seeds”. There is a conventional four movement structure including a traditional Minuet & Trio for the third movement. The music is strongly rooted in C using a conventional key plan for the four movements of: C minor – C major- Eb major and C minor (with a Major Coda at the end). Movement 2 mourns the loss of our great Queen Elizabeth II and the dedication of the work reads, “For Carol, with my deepest thanks.”
This is a Sibelius 7.5 realisation using Noteperformer 3 as the playback engine.
This is a Sibelius 7.5 realisation using Noteperformer 3 as the playback engine.
Fanfare on Monk's Gate For Organ Solo (2023)
Fanfare on Monk's Gate For Organ Solo (2023)
This short organ Fanfare was written for my friend William Lindeth. I have known William since 1977 and am very proud that he has recorded my piece and performed it so well.
This short organ Fanfare was written for my friend William Lindeth. I have known William since 1977 and am very proud that he has recorded my piece and performed it so well.
It is based upon the hymn tune "Monk's Gate" which is usually sung to the words, "He, who would valiant be".
It is based upon the hymn tune "Monk's Gate" which is usually sung to the words, "He, who would valiant be".
Prelude & Postlude on Sheltered Dale For Organ Solo (2023)
Prelude & Postlude on Sheltered Dale For Organ Solo (2023)
This Prelude and Postlude is based upon the tune “Sheltered Dale” sung to the words beginning “Awake, awake to love and work the lark is in the sky”. I used to sing this as a child at school and love the simplicity of the sentiment of the text. Thank God for our beautiful world and the beginning of each new day.
The Prelude is gentle with the tune played by the pedals set to a 4 foot pitch (for non-organists this means it is much higher than usual).
The Postlude is much more celebratory in style.
I have recorded it on my home organ.
Two Carol Dances for Organ Manuals (2023)
Two Carol Dances for Organ Manuals (2023)
These two Carol Dances are perhaps best described as creative arrangements of two traditional but lesser known Christmas carols. The first is "The Song Of the Crib" from Germany the second is a Czech carol entitled "The Birds". They have been written so that they can be played on the organ without the need for pedals.
Two Quiet Preludes on Tunes by Orlando Gibbons
For Organ (2024)
I wrote these two short Preludes for my dear friend Michael on the passing of his wife. They are contemplative in nature and written to be suitable for use in a Church communion service. The performance is my own.