Three violin groups: Hardanger and Shetland fiddlers and classical players, together with a ‘bass group’ of bass clarinet, viola, cello and double bass, and a continuo part for the cimbalom.

Instrumentation: bcl - cimbalom - harmonium - strings (classical violins.Hardanger fiddles.Shetland fiddles.vla.vlc.db)

Ancient calendars were all based on lunar cycles, and in the Celtic world, the year began on the sixth day after the first new moon following the Vernal Equinox. Each month was divided into two fortnightly periods, known as Anagan and Antenoux.

Instrumentation: fl.cl(=bcl).trbn.electric gtr.bass gtr.perc(1): vib/small SD/congas/kick drum/BD/tam-t pno.vln.vla.vlc

This piece was born of a fascination for the amazing creatures, preserved as fossils, in the Burgess Shale Formation – located in the Canadian Rockies of British Columbia.

Instrumentation: Cor Anglais, 1 Percussion: pair of congas, 5 wooden salad bowls of different sizes, floating in a large (preferably glass) bowl of water, 5 or more guiros of different sizes & materials (these can be junk items), 7 temple blocks with a dark, hollow sound, metal dustbin, heavily dampened. Drum kit: hi-hat (small), snare drum (small / funky), pedal bass drum (small & heavily dampened).

Inspired by Arabic patterns.

Instrumentation: Oboe & Piano

A setting of Whitman’s dirge for Two Veterans

Instrumentation: SATB choir, strings and electronics

Between Worlds is a spiritual and poetic drama, based on the events of 9/11; opening out to a universal panorama of human beings in extremis. The work, a collaboration between director Deborah Warner, composer Tansy Davies, and librettist, Nick Drake, was premiered at the Barbican Theatre, London, in April 2015.

Instrumentation: 2(II=afl+picc).2.2(II=ebcl).bcl.0 - 2.1.0.btrbn.1 - timp - perc(2): glsp/hi-hat/2 siz.cym/2 susp.cym (bright/dark sounding)/2 tgl/Mark tree/2 glass chimes (row and bunched)/shell chimes (bunched)/jingles (or sistrum)/whip/vibraslap/egg shaker/waterphone/door bell (continuous ring)/5 metal bars of different sizes (resembling temple blocks in pitch - not too resonant and relatively even in volume and resonance)/paper (grease-proof) or dry leaves/3 tpl.bl (1 medium/high, 2 low)/2 guiros (high, low)/2 ocean drums (medium, large)/thunder sheet (very large)/tam-t/bongos (small)/tom-tom (medium/large - heavily dampened)/djembe/snare drum/BD - harp - strings

16 singers: SHAMAN (CT)/JANITOR (Bar)/YOUNGER WOMAN (S)/REALTOR (MS)/YOUNGER MAN (T)/OLDER MAN (BBar)/MOTHER of YOUNGER MAN (MS)/LOVER OF YOUNGER WOMAN (MS)/BABYSITTER (S)/WIFE of OLDER MAN (S)/SECURITY GUARD (T)/FIREFIGHTER 1 (T)/FIREFIGHTER 2 (Bar)/SISTER OF YOUNGER MAN (S)/CHILD (boy)/OLDER EXECUTIVE (T) Chorus

Cave was commissioned by the London Sinfonietta and the Royal Opera House Covent Garden Foundation, with support from the Britten-Pears Foundation

Instrumentation: cl(=bcl).bsn(=cbsn).hn.harp.vln.db - live electronics (1-2 operators): sampler/effects applied to the vocal performers. VOICE//HANNAH (MS)/MAN (T)

A carol for the Choir of King’s College Cambridge. Text by Christina Georgina Rossetti, written before 1886.

Instrumentation: Unaccompanied SATB Choir

Dark Ground inhabits an imaginary space where a ritual takes place. I see the space as a circle, and within that circle, cyclic patterns and formations are enacted, each leaving a mark on the space.

Instrumentation: Solo Percussion

Text by John Clare.

Instrumentation: Soprano and Piano

Instrumentation: String Orchestra: min. 5.4.3.2.1/2. Ideal 16.14.12.10.8

The starting point for this piece was the painting ‘Falling Angel’ by the German artist Anselm Kiefer.

Instrumentation: 1(=afl & picc).1(=ca).1(=bcl).1Eb(=bcl).1(=cbsn) - 2.2(1 & 2 = fl.hn).0.0 - 2 perc (see score for details) - electric keyboard on harpsichord setting (= prepared piano: paper placed between strings and hammers) - strings (1.1.1.1.1)

Score revised 2015.

Instrumentation:

Commissioned by Esa-Pekka Salonen for the Philharmonia Orchestra’s 70th Anniversary; New York Philharmonic: Alan Gilbert, Music Director & International Festival of Contemporary Music for Warsaw Autumn’s 60th Anniversary. The piece is dedicated to Esa-Pekka Salonen.

Instrumentation: 2.picc.3(III=ca).3(II=ebcl).2.cbsn – 0.3.3.1 – perc(3): glsp/vib/bass mar/t.bells/timp/2 large susp.cym/5 tin cans (different pitches)/sleigh bells/cabasa/rattle (or shaker)/4 tom toms/SD/BD/tam-t – harp - strings

The oboist plays the role of a faun accompanying the growth of a tree.

Instrumentation: Oboe & Piano

Text by Rachel Corrie

Instrumentation: Low voice (male or female), alto flute, percussion and double bass

grind show (electric) is an imaginary journey into the heart of a painting by Goya – the Pilgrimage of St Isadore. The action takes place in a house on a hill, somewhere in Goya’s dark and bleak landscape. I see lights on and revellers in the house, and a different activity in every room. The title alludes to sideshows and carnivals, where things can be fun or frightening or weird.

Instrumentation: fl.cl - pno (prepared) - vln.vlc - sampler/electronics

grind show (unplugged) is an imaginary journey into the heart of a painting by Goya – the Pilgrimage of St Isadore. The action takes place in a house on a hill, somewhere in Goya’s dark and bleak landscape. I see lights on and revellers in the house, and a different activity in every room. The title alludes to sideshows and carnivals, where things can be fun or frightening or weird.

Instrumentation:

Commissioned by London Music Masters for Many Voices, a collection of new violin and piano works for young people, in the charity’s 10th Anniversary year

Instrumentation: Violin and Piano

Short brittle sounds, and long soft sounds are woven into a tapestry of broken patterns, cycles and grooves, all moving at slightly different speeds.

Instrumentation: bcl.bsn - hn - pno - vln.vla.vlc

The role of the soloist in ‘Iris’ is like that of a shaman, or ‘one who walks between the worlds’. A shaman must travel through ‘lower and ‘higher’ realms of subconscious reality in order to perform his or her work.

Instrumentation: Solo Soprano Saxophone - 1.1.1.1 - 1.1.1.0 - perc(1): 2 large log drums/BD/pedal BD/5 cowbells/bongos/large tom-t/African rattle/SD/hi-hat/high wdbl/trash instruments/thundersheet/5 tin cans/pedal bin/reversible sticks- harp - pno - strings (1.1.1.1.1)

I sought the pitches from Sonatas by Scarlatti, which I then put through a process of augmentation via signals, which act like holes placed upon Scarlatti’s music, rather like loopholes that allowed space for my own interventions.

Instrumentation: Solo Piano

A kind of dialogue between violence and longing.

Instrumentation: Solo Violin

A reconstruction of Dowland’s Galliard to Lachrimae.

Instrumentation: Concert of viols (treble viol.2ten viol.2bass viol)

“The gait of power is for running at night, and it is completely safe. This is the night! And it is power! At night the world is different.”

Instrumentation: Solo Piano - afl(=fl).ca(=ob).bcl - hn - perc(1): mar/SD/BD/5 temple blocks/4 tom-t/floor tom/tam-t - harp - vln.vla.vcl.db

Neon lights, urban life, and physical energy are what this music is about. It’s a dialogue between the human body and the machine. The human is detectable in the surfaces of the music – often fragile sounding, imperfect, dirty or ‘distressed’ in some way.

Instrumentation: bcl(with amplification).ssax - perc (1): mar/trash metal/BD/pedal BD/hi-hat/jingles/SD/large log drum/bongos/wdbl/tenor drum - Elec Keybd (Software Sampler: Clavinet sound) - vln.vlc.db (all with amplification)

Endless refrains, woven out of intricate, interconnecting segments, combine to form a kind of musical forest, in a celebration of Spring.

Instrumentation: 2 picc.2.2.2 ca.2.2 ebcl.2 bcl.2.2 cbsn - 4.3.3.1 btrbn.1 - 2 timps - perc(4): I: 2 tgl (large, small)/whip/3 susp.cym (small, medium, large)/sistrum/snare drum/siz.cym/2 roto-toms (large, small)/finger cyms (pair) II: finger cyms/glass chimes/5 tpl.bl/tam-t/bass t.bells (low F#, A, B)/BD/hi-hat/thunder sheet (large) III: glsp/5 tpl.bl/tam-t IV: cyms (small, medium, large)/bass t.bells (low F#, A, B)/BD/mar/bongos/finger cyms - 2 harp - strings

‘Residuum’ is an imaginary replay of the residual energy of Dowland’s ‘Galliard to Lachrymae’, heard like an echo of ancient music in a modern time.

Instrumentation: 2 Solo Violins, Solo Cello & Strings

salt box was the name given to a wooden box used on battleships, to hold ammunition cartridges, and to keep them dry.

Instrumentation: bcl.ssax - perc(1): mar/trash metal/BD/3 piece drum kit/congas/metal dustbin/2 thunder sheets - elec keyboard (hammond organ B3) - vln.vlc.db

Inspired by a poem of the same name, by Ruth Fainlight.

Instrumentation: Viola & Piano

The text for this song dates from 11th Century France and is one of the most well known poems by troubadour Guillaum IX D’Aquitane. The title in original Occitane, is Farai Un Vers De Dreyt Nien.

Instrumentation: Soprano and Indian Harmonium (may also be performed on other kinds of harmonium or sampler)

The text for this song dates from 11th Century France and is one of the most well known poems by troubadour Guillaum IX D’Aquitane. The title in original Occitane, is Farai Un Vers De Dreyt Nien.

Instrumentation: mezzo-soprano or countertenor and piano

spine begins in darkness as the first cells of musical material begin to develop as very soft sounds. Then follows a ‘hardening’ of the sound world when the first of many dances for harp cimbalom disturbs the opening.

Instrumentation: 2afl.2bfl.4bcl (I=Bb cl) - cimbalom - bass mar - harp

The solo trumpet (and its accompanying group of orchestral trumpets, oboes and clarinet) are like the concrete floor plate, spiralling up between the glass walls of the orchestra and being reflected in their surfaces.

Instrumentation: Solo Trumpet - picc.2.2.ca.cl.2bcl.bsn.2cbsn - 432.btrb.1 - perc(3): 3 BD/6 cowbells/bongos/4 car wheels/3 hi-hat cymbal/3 snare drum (small/large/piccolo)/3 small/med log drum/taiko drum/metal dustbin/6 wdbl/tam-t/xyl/7 tin can/rototoms - strings

Static and This Love are settings of poems by Nick Drake. Both, to me, have a vivid potency and atmosphere, which I’ve tried to capture and intensify in these songs.

Instrumentation: Tenor and Piano

The beginning of ‘Streamlines’ is like a ‘point of arrest’ where a sudden growth spurt appears from nowhere and a line starts to emerge.

Instrumentation: picc.2.3.3.2.cbsn - 4.3.2.btrb.1 - perc(4/5): peking opera gong/2 rototom/2 thai nipple gong/2 tin can(sml & med)/metal dustbin/splash.cym/hihat.cym/BD/2 conga/tomtom(med)/2 log drums(lg)/vib/mar/2 xyl - hp - strings

A variation on Sellinger’s Round, an Elizabethan theme.

Instrumentation: String Orchestra

Text by Guilhelm IX d’Aquitane, 1071-1127 (translated by Mariette Purcell).

Instrumentation:

Static and This Love are poems by Nick Drake. Both, to me, have a vivid potency and atmosphere, which I’ve tried to capture and intensify in these songs.

Instrumentation: Tenor and Piano

The orchestra in ‘Tilting’ is like a very large building with its own natural distortions.

Instrumentation: picc.2.3(III=ca).3(III=bcl).2.cbsn - 4.2.3.1 - perc(3) 3 cowbells/3 log drums/large metal dustbin/tin can/large BD/hi-hat/susp.cym/splash.cym/siz.cym/vib/tam-t - harp - cel - strings

A song cycle based on 12th century ‘Provencal’ poems by women troubadours, the troubairitz.

Instrumentation: Soprano & Percussion

Undertows are deceptive… There are moments when the surface turns suddenly smooth and glistening others when the nature and speed of the main current switches.

Instrumentation: fl.cl.vln.vlc.pno

1: Dark Dream
2: What Just Happened?
3: Dance of Air and Wire, for Earth
4: Tree of Life

Instrumentation: Full Orchestra

A musical adventure loosely based on the ‘Fool’s Journey’, a metaphor for the journey through life, as depicted by the images and archetypes found in a Tarot pack.

Instrumentation: 3(II=picc.III=afl).3.3(II&III=bcl).3(III=cbsn with A extension) - 4.3.2.btrbn.1 - timp - perc(4): mar/vib/sizz.cym/hi-hat/cabasa/3 whips/ocean drum/guiro/ratchet/large rainstick/wind machine/5 tpl.bl/2 bongos/2 timb/1 conga/2 SD/pedal BD/BD/opera gong/tam-t - pno - harp - strings