3-3-3-3; 4-3-3-1; Timp., Perc., Hp., Str.
Premiered November 21, 1975, Scottish National Orchestra, Alexander Gibson conducting, Carnegie Hall, NY.
Performance materials available on rental.
Score published: 416-41102.
Orchestral | Opera | Choral | Voice | Piano | Organ | Chamber | Wind
Unless otherwise indicated, works listed here are available from Theodore Presser Company
Alastor
for Orchestra (1970)
20'
3-3-3-3; 4-3-3-1; Timp., Perc., 2 Hp., Pno., Str.
Commissioned by the Scottish National Orchestra for its 21st
Anniversary Festival, 1971.
Performance materials available on rental.
Score published: 416-41087.
The Alexandrian Sequence for
Chamber Orchestra (1976)
24'
1-1-1-1; 1-1-1-0; 2 Vln., Vla., Vcl., Cb.
Performance materials available on rental.
Amphion: Concerto No. 2 for
Violin and Orchestra (1971)
25'
2-2-2-2; 4-2-2-0; Perc., Pno., Str.
Commissioned by the BBC to celebrate the 50th anniversary of
broadcasting.
Performance materials available on rental.
Score published: 416-41088.
Arias for Chamber Orchestra (1962)
Available from Schott Music International.
Aurora
for Orchestra (1975)
12'
3-3-3-3; 4-3-3-1; Timp., Perc., Hp., Str.
Premiered November 21, 1975, Scottish National Orchestra,
Alexander Gibson conducting, Carnegie Hall, NY.
Performance materials available on rental.
Score published: 416-41102.
Bartholomew Fair - Overture for Orchestra, Op. 17 (1952)
Available from Schott Music International.
Bulgaria: Invocation/Evocation for Orchestra
(1999)
23
2-2-2-2; 4-3-3-1; Timp.,
Perc., Hp., Str.
Performance materials available on rental.
Cantos for Orchestra (1964)
Available from Schott Music International.
Circus
for Two Trumpets and Orchestra (1969)
20'
2-2-2-2; 4-0-3-1; Timp., Perc., Hp., Gtr., Str.
Commissioned by the BBC. First performed by the BBC Symphony
Orchestra, John Pritchard conducting, January 21, 1970, Royal Festival Hall,
London.
Performance materials available on rental.
Score published: 416-41090.
Clarinet Concerto for Clarinet and
Orchestra, Op. 7 (1949-50)
Available from Schott Music International.
Cleopatra, Dramatic Scene
for Soprano and Orchestra (1977)
21'
2-2-2-2; 4-2-3-0; Timp., Perc., Hp., Str.
Performance materials available on rental.
Commedia: Concerto for
Orchestra (1972)
25'
Commissioned and premiered by The London Symphony Orchestra,
May 4, 1973, Royal Festival Hall, London.
3-3-3-3; 4-3-3-1; Timp., Perc., Hp., Str.
Performance materials available on rental.
Concerto for Harp and Small Orchestra
(1992)
20
Solo Hp.; Fl., E.Hn., Cl.,
Bsn., Hn., Tpt., Perc. Str.
Performance materials available on rental.
Ecossaise for Orchestra (1959)
Available from Schott Music International.
Five Love Songs for High Voice and
Orchestra, Op. 36 (1958)
Available from Schott Music International.
In Changing Light, Four Impressions for Orchestra
(1993)
22
2-2-2-2; 4-3-3-1; Timp.,
Perc., Hp., Str.
Performance materials available on rental.
Jazz Trumpet Concerto for Jazz Trumpet and Orchestra, Op.
37 (1958)
Available from Schott Music International.
Jubilee for Orchestra (1964)
Available from Schott Music International.
London: Kaleidoscope for Piano and Orchestra
(2000)
20
Solo Pno.; 2-2-2-2; 4-2-3-0;
Timp., Perc., Str.
Manuscript.
La Mort De Phθdre
for Mezzo-soprano and Orchestra (1987)
25'
Mezzo-sop.; 2-2-2-2; 4-3-3-0; Timp., Perc., Hp., Str.
Performance materials available on rental.
Organ Concerto for Organ and Orchestra
(1965/88)
Available from Schott Music International.
Paris de crιpuscule ΰ laube for
Voice and Orchestra
(1986)
25'
Six settings of Baudelaire.
Voice and Orch.: 2-2-2-2;
2-1-1-0; Timp., Perc., Hp., Str.
Manuscript.
(See also Voice and Piano.)
Piano Concerto No. 1
for Piano and Orchestra (1967 Version)
20'
2-2-2-2; 4-2-3-1; Timp., Perc., Marim., Hp., Str.
Performance materials available on rental.
Score published: 416-41089.
Piano Concerto No. 2
for Piano and Orchestra (1987)
30'
Solo Pno.; 2-2-2-2; 4-3-3-0; Timp., Perc., Hp., Cel., Str.
Premiered in May 1989 by the BBC Scottish Symphony Orchestra,
David Horne, piano, Jerzy Maksymiuk, conducting.
Performance materials available on rental.
Ricordanza for High Voice
and Orchestra (1981)
25'
Seven settings of George Herbert.
2-2-2-2; 4-2-3-0; Timp., Perc., Hp., Str.
Performance materials available on rental.
(See also Voice and Piano.)
Scottish Dances for Orchestra, Op. 32 (1956)
Available from Schott Music International.
Sinfonia for 2 orchestras (1959)
Available from Schott Music International.
Sinfonia Concertante for
Violin, Viola and Chamber Orchestra
(1950) 20'
1-1-1-1; 2-1-1-0; Hp., Str.
Performance materials available on rental.
Sonata for Chamber Orchestra, Op. 34 (1957)
Available from Schott Music International.
Sonatas and Variants for Orchestra (1963)
Available from Schott Music International.
Symphonic Variations for Orchestra, Op. 19 (1953)
Available from Schott Music International.
Symphony No. 1 (1948)
Available from Schott Music International.
Symphony No. 2 (1950-51)
Available from Schott Music International.
Symphony No. 3 ("Spring") in G
for Orchestra (1981)
26'
2-2-2-2; 2-0-0-0; Str.
Premiered by the Scottish Chamber Orchestra, Roderick Brydon,
conducting, January 1982.
Performance materials available on rental.
Symphony No. 4 in B
for Orchestra (1981) 50'
3-3-3-3; 4-3-3-1; Timp., Perc., Hp., Str.
Premiered by the Scottish national Orchestra, January 21,
1983, Usher Hall, Edinburgh.
Performance materials available on rental.
A Testament of War for Baritone and Orchestra (1960)
Available from Schott Music International.
The Transit of Jupiter for Orchestra
(1995)
17
2-2-2-2; 4-3-3-1; Timp.,
Perc., Hp., Str.
Performance materials available on rental.
Vers Apollinaire for
Orchestra (1990) 26'
2-2-2-2; 4-4(2Cornets)-3-1; Timp., Perc., Hp., Str.
Performance materials available on rental.
Violin Concerto for Violin and
Orchestra, Op. 15 (1952)
Available from Schott Music International.
Violin Concerto, No. 2
See
Amphion: Concerto No. 2 for Violin
and Orchestra
Voyage
for Horn and Chamber Orchestra (1970)
18'
1-1-1-0; 0-2-1-0; Perc., Pno., Str. (single or multiple)
Commissioned for Barry Tuckwell by the London Sinfonietta.
Premiered February 26, 1971, Barry Tuckwell and the London Sinfonietta, Queen
Elizabeth Hall, London.
Performance materials available on rental.
Score published: 416-41091.
Agamemnon,
Dramatic Narrative in 1 Act (1987) 60'Anna Karenina,
Opera in 3 Acts (1978)
135'
4 Sop., 2 Mezzo-sop., 1 Alto, 2 Ten., 3 Bar., 2 Bass, Boy Soprano, SATB Chorus.
2-2-2-2; 4-3-3-1; Timp., 2 Perc., Hp., Str.
Libretto by the composer after Tolstoy.
Performance materials available on rental.
Vocal Score published: 411-410730.
Libretto published: 412-410630.
The Catiline Conspiracy,
Opera in 2 Acts (1973)
120'
2 Sop., 1 Mezzo-sop., 1 Alto, 3 Ten., 4 Bar., 3 Bass, SATB Chorus.
2-2-2-2; 3-2-3-0; 2 Perc., Hp., Str.
Libretto by the composer after Ben Jonson.
Premiered March 16, 1974, Scottish Opera, Alexander Gibson
conducting, MacRobert Centre, Sterling, Scotland.
Performance materials available on rental.
Vocal Score published: 417-410180.
Libretto published: 417-41018L.
Dick Whittington, Lyric comedy (1980-1)
Performance materials available on rental.
Lancelot,
Opera in 2 Acts (1982-83)
120'
8 Soloists: 2 Sop., 1 Mezzo-sop., 2 Ten., 2 Bar., 1 Bass,
2-1-1-1; 2-2-0-0; Perc., Hp., Str.
Commissioned by the Arundel Festival. Premiered in the
Tilting Yard at Arundel Castle, August 24, 1985.
Performance materials available on rental.
Londons Fair, A Lyric Comedy in 2
Acts (1992)
120'
2 Sop., 2 Mezzo-sop., 1 Contr., 4 Ten., 3 Bar., 2
Bass, 1 mimed role, SATB Chorus.
2-2-2-2; 4-3-3-1; Timp., 2 Perc., Hp., Str.
Libretto by the composer.
Performance materials available on rental.
On the Eve, Opera in 2 Acts (1980-96)
110
1 Sop., 1 Mezzo-sop., 3 Ten., 2 Bari., 1 Bass.
2-2-2-2; 4-2-2-1; Timp.,
Perc., Hp., Str.
Libretto by the composer from the novel by Turgenev.
Performance materials available on rental.
Pharsalia,
A Dramatic Commentary in 1 Act (1968)
25'
2 Sop., 1 Alto, 1 Ten., 1 Bar., 1 Bass, Narrator.
1-0-1-0; 1-1-1-0; Perc., Pno., Hp., Vln., Vla., Vcl.
Libretto by the composer after Lucan.
Performance materials available on rental.
Raleigh’s Dream, Opera in Prologue and 8 Scenes (1983)
85'
1 Ten., 3 Bar., 1 Bass-Bar., 1 Sop., 1 Mezzo-sop., STB
Chorus.
1(Picc.)-1(E.Hn.)-1-1; 1-1-1-0; Perc., Hp., Str.
Libretto by the composer.
Commissioned for the North Carolina British-American
Festival, Duke University by the Mary Duke Biddle Foundation and Dr. James
Semans. Premiered June 3, 1984, Reynolds Theater, Duke University, NC.
Performance materials available on rental.
The Royal Hunt of the Sun, Opera in 2 Acts (1968)
130'
2 Ten., 2 Bar., 1 Bass, many smaller roles (all male voices), SATB Chorus.
2-2-2-2; 4-3-3-1; Timp., 4 Perc., Marim., Xylo., Org./Cel.,
Pno., Hp., Str.
Libretto by the composer based on the play by Peter Shaffer.
Premiered February 2, 1977 by the National English Opera,
London Coliseum.
Performance materials available on rental.
Vocal Score: 411-410650.
Libretto: 412-410620.
Tamburlaine, Lyric Drama in 1 Act (1976)
90'
Version in 2 Acts 120'
1 Sop., 1 Mezzo-sop., 1 Alto, 2 Ten., 1 Bar., 2 Bass, SATB Chorus.
2-2-2-2; 4-3-3-1; Timp., 4 Perc., Pno., Cel., Hp., Str.
Libretto by the composer after Marlowe.
Commissioned by the BBC and premiered on March 14, 1977 on
BBC-Radio 3.
Performance materials available on rental.
The Tragedy of Macbeth,
Opera in 1 Act (1994)
100'
1 Sop., 1 Mezzo-sop., 2 Ten., 1 Bar., 1 Bass.
2-2-2-2; 2-2-2-1; Timp., Perc., Hp., Str.
Performance materials available on rental.
The Bermudas for Baritone, SATB Chorus, and Orchestra, Op. 33
(1956)
Available from Schott Music International.
The Bright Heavens Sounding (1985)
28'
Setting of text by Spenser.
SATB Soloists and Chorus, Fl., 2 Ob., Bsn., 2 Hn., 2 Tpt. in C, Str.
Premiered June 27, 1986, Camden Choir, Julian Williamson
conducting, Barbican Hall, London.
Vocal Score published: 412-41068.
Christ’s Nativity (1989)
3'
Text by Henry Vaughan.
SATB and Organ.
Published: 312-41582.
The Convergence of the Twain (1985)
4'30''
Setting of Hardys poem on the sinking of the Titanic.
SATB and piano.
Published: 312-41483.
Cradle Song
3'
SATB and piano.
Published: 312-41342.
The Descent of the Celestial City from
Epitaph For This World And Time (1972)
SATB and Organ.
Octavo published: 312-41004.
Epitaph for This World and Time for Three Choruses
and Three Organs (1970)
22'
Commissioned for the Chapel of Duke University. Premiered
March 31, 1971 at Trinity Church, New York City, by the choirs of the Cathedral
of St. John the Divine, Trinity Church (Princeton, NJ) and Trinity Church (New
York) with organists David Agler, Larry King and Jack Jones.
Performance materials available on rental.
Score published: 412-41057.
The Fray of Suport for SATB Chorus a cappella, Op. 21 (1954)
Available from Schott Music International.
The Golden Sequence (1973)
22'
SATB Chorus, Congregation and Organ .
Octavo published: 312-41036.
A Hymn to the Virgin
3'
SATB and piano.
Published: 312-41343.
The Morning Watch (1981) 22'
Settings of four poems by Henry Vaughan.
1. The Evening Watch
2. Midnight
3. The Lamp
4. The
Morning Watch
Mixed Chorus and Ten Winds: 2 Ob., E.Hn., 2 Bsn., 2 Tpt., 3 Tbn.
Performance materials available on rental.
Mass in A (1980)
30'
SSATTB a cap.
1. Kyrie eleison
2. Gloria
3. Credo
4. Sanctus
5. Hosanna
6. Benedictus
7. Agnus Dei
8. Dona nobis pacem
9. Amen di Missa
Premiered April 4, 1981 by the London Chorale, David Colman conducting, Queen
Elizabeth Hall, London.
Choral Score published: 442-41008.
Nocturnal for SATB Chorus (1959)
Available from Schott Music International.
The Passion of Our Lord According to Saint Mark
(1982)
120'
SATB Soloists and Chorus.
1-2-0-1; 2-1-0-0; Str.
Vocal Score published: 416-41106.
Prometheus (1986)
60'
Sop., Mezzo-sop., Ten., Bar. soloists, SATB and
Orchestra
3-3-3-3; 4-3-3-1; Timp., Perc., Hp., Str.
Vocal Score published: 416-41089.
Requiem (1979)
30'
SATB a cappella.
Performance materials available on rental.
Choral Score published: 412-41069.
The Summer Fields (1987)
25'
Six Sonnets of John Clare.
SATB, a cap. or with optional 0-2-2-2; 4-2-3-0.
Premiered une 27, 1987, The London Chorale, David Coleman, conductor, St. John's
Smith Square, London.
Octavos published separately:
1.
Midsummer; 312-41529.
2. Careless
Rambles; 312-41530.
3. Summer
Happiness; 312-41531.
4. The Heat of
Noon; 312-41532.
5. The
Nightingale; 312-41533.
6. Twilight
in Summer; 312-41534.
Te Deum, Homage to Venice
(1973-74) 20'
To Columbus (1975)
20'
A setting of Walt Whitmans poem A Thought of Columbus.
Mixed Chorus, Brass Ensemble (3Tpt., 3Tbn.) and Percussion.
Performance materials available on rental.
Choral Octavo published: 312-41131.
Vespers, 1980
Mixed Chorus, Two
Pianos, Harp and
Percussion.
Premiered February 15, 1981, Duke University Chapel Choir and Chorale.
Performance materials available on rental.
Cantata No. 1 for Tenor and Piano
(1957) 9'
Performance materials available on rental.
Published, Custom print: 111-40130.
Dialogues for Soprano and Five Instruments
(1965)
Available from Schott Music International.
Five Lyrics of Torquato Tasso
for Baritone and Piano (1973)
12'
1. Giammi piu dolce raggio...
2. O via piu biancha e fredda...
3. Mentre angioscia e dolore...
4. Qual rugiada o qual pianto...
5. Fummo un tempo felice...
Published: 111-40080.
Love is Lifes Spring for Soprano
and Piano (1982)
5'
Setting of a poem by John Clare.
Manuscript.
Paris de Crιpuscule ΰ laube (1987)
25'
Six settings of Baudelaire.
Piano reduction of Orchestral version.
Manuscript.
Ricordanza for High Voice and
Piano (1981)
25'
Seven settings of George Herbert.
Performance materials available on rental.
Songs of Summer for High
Voice and Piano (1954)
10'
Published, Custom Print:
411-410610.
| The Spirit of Delight, Songs of Life, Love and Death for Soprano, Baritone, and Piano (1978) 60' | |
| Texts from 27 poems of Shelley. | |
| 1. An Exhortation | 15. Time Long Past |
| 2. Lines | 16. To Night |
| 3. Lines | 17. Mutability |
| 4. Sonnet | 18. Song |
| 5. Ozymandias | 19. An Allegory |
| 6. Autumn: A Dirge | 20. Lines |
| 7. Remembrance | 21. Evening: Ponte al Mare, Pisa (verses 1 & 4) |
| 8. The Past | 22. To Jane: The Recollection (closing lines) |
| 9. Ode to Heaven | 23. Lines: When the Lamp is shattered |
| 10. The World's Wanderers | 24. A Dirge |
| 11. The Tower of Famine | 25. A Lament |
| 12. Death | 26. The Boat on the Serchio (excerpts) |
| 13. The Two Spirits: An Allegory | 27. The Isle |
| 14. Time | |
| Commissioned by Jane Manning and Richard Jackson with the support of the Arts Council of Great Britain. | |
| Performance materials available on rental. | |
| Published, Custom print: 111-40127. | |
Denislavs Diary: Scenes from Childhood
for Piano Solo (1995)
15
Published: 410-41317.
Le Jardin de Monet
for Piano Solo (1986)
30'
Nine Movements for Piano.
Published: 410-41279.
Months and Metamorphoses
for Piano Solo (1996)
60
Published in 3 Volumes
Vol. 1
published:
410-41314.
Vol. 2
published:
410-41315.
Vol.
3 published:
410-41316.
Nocturnes with Cadenzas for Piano (1963)
Available from Schott Music International.
Palinodes for Piano Solo
(1972) 18'
Piano Sonata No. 1 for Piano Solo
(1951, revised 1971)
20'
Published: 410-41201.
Piano Sonata No. 2
for Piano Solo (1973)
15'
Commissioned by the Ford Foundation for Michael Ponti.
Premiered by Michael Ponti, December 14, 1974, Hunter College, NY.
Published: 410-41213.
Piano Sonata No. 3
for Piano Solo (1978)
22'
Premiered March 29, 1981 by Gary Steigerwalt, Abraham Goodman
House, New York.
Performance materials available on rental.
Published: 110-40698, Custom print.
Three Piano Pieces (1955) Op. 30
Available from Schott Music International.
Aubade
for Organ Solo (1965) 6'Fanfares and Variants for Organ Solo (1960)
Available from Schott Music International.
Paraphrase of the music for organs in
Epitaph for This World and Time (1970)
10'
Published: 412-41057.
Roman Music for Organ Solo (1973)
10'
Manuscript.
ThrenosIn Time of War
for Organ Solo (1966)
12'
Published: 113-40021.
Le Tombeau de Bach for Organ Solo
(1986)
20'
Eight Reflections on Six Chorales.
Published: 413-41142.
A Vision of Canopus for Organ Solo
(1975)
10'
Published: 113-40029.
Antigone for Wind Octet (1991)
20'
Fl., Cl., 2 Bsn., 2 Tpt., Ten.Tbn., BassTbn.
Performance materials available on rental.
Aria for Horn and Piano (1951)
Available from Schott Music International.
Brass Quintet (1964)
Available from Schott Music International.
Capriccio for Trumpet and Piano (1951)
Available from Schott Music International.
Five Scenes for Trumpet and Piano
(1966)
10'
Written for and Premiered by Robert Nagel, trumpet and
Gilbert Kalish, piano, Duke University.
Score published: 114-40155.
Flute Quartet, Op. 12 for
Flute and String Trio (1951)
17'
Written for and premiered by the Gareth Morris, flute and the
Londo String Trio.
Performance materials available on rental.
Published, Custom Print:
114-40554.
Hyperion
for Five Players (1977)
23'
Commissioned for the New York Philomusica with funding
through the Elizabeth Sprague Coolidge Foundation in the Library of
Congress. Premiered 20th January, 1978,
New York Philomusica, Library of Congress,Washington, DC.
Cl., Hn., Vln., Vcl., Pno.
Performance materials available on rental.
In Summer for Oboe and Piano (1999)
16
Published, in preparation:
114-41061.
Octet
for Paragon Ensemble
22'
Fl., Ob., Cl., Bsn., Hn., Tpt., Tbn., Bar.
Performance materials available on rental.
Octet for Strings (1954)
20'
4 Vln., 2 Vla., 2 Vcl.
Commissioned by the University of Glasgow.
Performance materials available on rental.
Piano Quintet for Piano
with String Quartet (1993)
22'
Premiered October 5, 1996, New York Philomusica, Pearl River,
NY.
Published, Custom Print:
114-40731.
Parts published, in preparation:114-40731P.
Quintet No. 1 for Clarinet and
String Quartet (1948)
20'
Performance materials available on rental.
Published, Custom Print:
114-40595.
Sea Music: Quintet No. 2
for Clarinet and String Quartet (1974)
18'
Commissioned by Janet Hilton. Premiered in May 1975 at the
Bath Festival, Lindsay Quartet and Jenet Hilton, clarinet.
Performance materials available on rental.
Published, Custom Print:
114-40556.
Serenata for Violin and Clarinet (1955)
10'
Published: 114-40164.
Sextet for Flute, 2 Clarinets, Violin, Cello and Piano (1962)
Available from Schott Music International.
Sonata for Clarinet and Piano, Op. 22 (1953)
Available from Schott Music International.
Sonata for 5 for Flute, Oboe, Clarinet, Bassoon and Horn (1966)
Available from Schott Music International.
Sonata
for Flautist and Piano (1966)
15'
Wrotten for an first performed by Severino Gazzelloni at the
Venice Festival in 1966.
Published, Custom Print:
114-40681.
Sonata for Oboe and Piano (1991)
17'
Published, Custom Print:
114-40681.
Sonata for Viola and Piano, Op. 9 (1951)
Available from Schott Music International.
Sonata No. 1
for Violin and Piano (1974)
20'
Premiered by the Hampstead Music Club, London, in March 1975.
Performance materials available on rental.
Published: 114-40232.
Sonata No. 1 for
Violoncello and Piano, Op. 39 (1959)
Available from Schott Music International.
Sonata No. 2 for Violoncello and
Piano (1974)
16'
Premiered by Joan Dickson, cello and Joyce Rathbone, piano,
January 1975, Wigmore Hall.
Published: 114-40231.
Sonata Notturna for Horn and Piano (1965)
Available from Schott Music International.
Songs of Summer for High Voice,
Clarinet, Violoncello and Piano (1954)
10'
Performance materials available on rental.
Published, Custom Print411-41061S.
Spirits of the Air for Solo Bass
Trombone (1977)
10'
Performance materials available on rental.
Published: 114-40501.
Spring Days for Flute and Piano (1996)
5
1. The Linnet
2. Primroses
3. Swifts
Published: 114-40848.
String Quartet No. 1 (1949)
Available from Schott Music International.
String Quartet No. 2 (1965/72)
Available from Schott Music International.
String Quartet No. 3
for String Quartet (1984)
20'
Performance materials available on rental.
Published, Custom Print:
114-40596.
String Quartet No. 4
for String Quartet (1984)
25'
Performance materials available on rental.
String Sextet (1988)
18'
2 Vln., 2 Vla., 2 Vcl.
Performance materials available on rental.
Three Nocturnes for
Clarinet and Piano, Op. 6 (1950)
Available from Schott Music International.
Trio for Violin, Cello and Piano, Op. 25 (1954)
Available from Schott Music International.
Variations on an Original Theme for Strings, Op. 1 (1948)
Available from Schott Music International.
Wild Garden, Five Pieces for Clarinet
and Piano (2000) 12'
Manuscript.
The Chaining of Prometheus
(1963) 10'
Epitaph for This World and Time for Three Choruses
and Three Organs:
CRI SD 280
Five Scenes for
Trumpet and Piano:
New
York Philomusica Records 10023-3-2
Hyperion for Clarinet, Horn,
Violin, Cello and Piano:
New York Philomusica Records
10023-3-2
Le Jardin de Monet
for Piano Solo:
Symposium 1121
Symposium 1127
Palinodes
for Piano Solo:
Symposium 1121
CRI S-407
Sonata
for Flautist and Piano:
New York Philomusica Records
10023-3-2
String Quartet No. 3:
Symposium 1121
Symposium 1127
ThrenosIn Time of War
for Organ Solo:
Crystal S180
Voyage
for Horn and Chamber Orchestra:
CRI SD 280
About Aurora
for Orchestra:
"It is a short (12-minute) progress from from darkness to
light a nocturne and scherzo, in which tricky solo writing emerges from
tenebrous, close-knit textures, and which ends in a sudden, splendid blaze. It
is a strongly made, gripping composition." Andrew Porter, The New Yorker
"The melodic preoccupation with sevenths, the pervading bitter sweet lyricism, the virtuoso orchestration with bold use of brass and the strong feeling of tonality all help make Hamilton a sort of latter day Walton." Christopher Ford, New York Guardian
"Aurora... was designed to show off its virtuosity, which it certainly does. ...In its color, brevity and clear form, it is easy to like." Raymond Ericson, New York Times
About
A Book Of Watercolours for Piano Solo:
"Hamilton exhibits a remarkable ability to create different
textures through clearly defined melodies, vital rhythms, varied and distinctive
harmonic languages, and an unfailing knack for idiomatic piano writing.
...Hamilton's use of different rhythmic patterns and subdivisions is both
expressive and pedagogically instructive. ...Book of Watercolors
is an excellent resource for developing coloristic sensitivity to contemporary
music..." Quarterly Journal of the Music Library Association
"This volume is a real 'must play' for exponents of modern piano music. It is demanding rhythmically and technically and consequently is destined for the advanced pianist." Piano Journal
About The Catiline Conspiracy,
Opera in 2 Acts:
"A masterpiece. It starts with the advantage of a subject—political cut and
thrust in ancient Rome—which seems as topical today as it has ever been. And it rises
to the challenge with music which is as strong and communicative as it is structurally
convincing." — Conrad Wilson, The Scotsman
"The great quality of the score is the musical gesture, the orchestra sound or phrase or rhythmic motif which makes an instant dramatic point." Gerald Larner, The Manchester Guardian
"It is greatly impressive, a real evening of musical theatre..." William Mann, The London Times
"The music proves constantly engrossing as the tautly proportioned score proceeds" Musical Times
About
Circus
for Two Trumpets
and Orchestra:
"A brilliantly forthright, individual and framatic piece of music...a shapely
communicative work." — The Times (London)
About Epitaph for This World and Time
for Three Choruses and Three Organs:
"An impressive world premiere. Mr. Hamilton uses...avant-garde devices with
imagination and restraint. There are exceptionally fine passages, where voices echo and
re-echo, and towards the end, sustain a pianissimo chord endlessly." —
The New
York Times
"...Hamilton's work used an almost Penderecki-like palette of choral sound, calling for whispers and shouts as well as singing. One strength of Epitaph lies in the fact that he uses that palette in a consistent and disciplined way. ...both vigorous and austere. ...this piece is richly imagined and worked both effectively and consistently." Stanley Sadie, London Times
About
A Field of Butterflies for Piano Solo:
"Six very colorful, less difficult concert pieces...good, short, up-to-date
works." — Classical Piano
About Five Lyrics of Torquato Tasso
for Baritone and Piano:
"The songs were atmospheric and subjective in character and
still showed clarity of structure, economy, and considerable originality and
inventiveness. ...the cycle appealed to the majority of the audience who gave
the singer a warm response and lusty applause that was also intended for the
absent composer. I hope many young singers will consider programming this major
addition to contemporary vocal repertory." Charles Horton, Chapel Hill
Newspaper
"Lyrically concentrated and elegantly crafted, these vignettes call for the most subtle kind of expressive nuances." Peter G. Davis, New York Times
About Five Scenes for Trumpet and Piano:
"Hamilton's Five Scenes were a captivating
exploration of various trumpet sonorities in a series of mood pieces ...Strong,
independent piano writing..." Conrad Wilson, The Scotsman
About Lancelot,
Opera in 2 Acts:
"An intimate study in idealism, disillusionment, and stoical acceptance...the score
is a very fluent and skilful essay in the neo-romantic vein, craftily structured from a
mosaic of motifs and written with the same flair for atmospheric instrumentation."
— David Cairns, The Sunday Times (London)
"Hamilton shows his habitual skills and imagination in the art of operatic narrative, action moving at an exhilarating rate. Musical characterization is clear-cut, the active orchestral commentary is always relevant to stage action and emotion yet never overbears the singers. The music of many episodes stays in the memory..." Hugo Cole, The Manchester Guardian
About Mass in A:
"Making use of a large body of voices, the music is spacious,
often restrained, but never austere in a merely negative sense, the ear being
constantly beguiled. ...Dr. Hamilton makes little use of overt contrast,
dramatic or otherwise, establishing his points by means of continuity, the
accumulation of effect and above all through lively counterpoints." Max
Harrison, London Times
About
Months and Metamorphoses
for Piano Solo:
"Hamilton crafts an extremely pianistic idiom, one that
always fits the hands. He also understands uniquely pianistic overtones, neatly
layering as many as three registers on top of each other, all enveloped by the
pedal. As far as tonality is concerned, Hamilton does employ distinct tonal
centers, though a rich bichordality defines many of the sonorities." Piano
and Keyboard
About
The Passion of Our Lord According to Saint Mark:
"The most haunting musical impression of this Easter's
music-making remains that of Iain Hamilton's extraordinarily beautiful The Passion of Our Lord According to Saint Mark."
Sunday Times (London)
About
Pharsalia,
A Dramatic Commentary in 1 Act:
"The music... is fierce and desperate, full of agonized
gestures, it has brief gentler moments, too... we were left feeling appalled at
the horror and futility and beastliness of war." London Times
"...intensively dramatic in its range of expressive colour, inventive ideas, and vivid impact." London Daily Express
About
Piano Concerto No. 1
for Piano and Orchestra:
"It is an attractive concert piece, cast in clear, light,
mostly primary colours, and expertly put together." Dominic Gill, Financial
Times (London)
About
Piano Concerto No. 2
for Piano and Orchestra:
"Relentlessly brilliant...a tour de force." —
The Scotsman
About
Piano Sonata No. 2
for Piano Solo:
"It is sure to appeal to adventurous pianists with a mature
technique and a flair for color. ...Striking in its contrast of ideas, moods,
textures and figurations, it is a significant and welcome contribution from a
composer who understands the piano extraordinarily well." American Music
Teacher
"The Hamilton is an exceptionally effective work. It's a piece largely of textures and colors. Filled with bravura passages, it makes some of its most telling points through the interplay of sonorities..." Allen B. Skei, Fresno Bee
"Iain Hamilton's [Sonata No. 2] is an awesome work, a dissonant exploitation of the keyboard in terms that recall the linear jaggedness of Schoenberg and the motoric repetition and vitality of Bartok." Baltimore Sun
About
Piano Sonata No. 3
for Piano Solo:
"It is a subtly structured, six-movement work in which
variants of the first two movements return as part of the final two movements.
Between these pairs is an eloquent slow movement and a brilliant cadenza. The
uncomplicated harmonic language is quite neo-classical, and full advantage is
taken of the piano's virtuoso and coloristic possibilities." John McInerney,
Musical America
About Prometheus:
"Impressive lyrical passages and...effectively stark and colourful
orchestration." — The Cambridge Weekly News
About The Royal Hunt of the Sun,
Opera in 2 Acts:
"A model of how to trim a play for purposes of musical composition...Mr. Hamilton has
deftly provided opportunities for spectacular climactic scenes and the stretches of
lyrical repose that no opera can do without...such skill and intelligence and such an
acute sense of timing." — The Observer
"[Hamilton] uses the orchestra brilliantly... the orchestra's role is generally to underpin Hamilton's brand of free-flowing cantilena, admirably flexible so that more than usual in opera the pace of dialogue varies as it does in the play." The Manchester Guardian
"... immensely impressive... it was the best new work added to the English National Opera's repertory for some seasons past. ...If I were directing the ENO, I would be commissioning Hamilton to write another opera right now." Music and Musicians
About Sea Music:
Quintet No. 2 for Clarinet and String Quartet:
"As its title suggests, Iain Hamilton's Sea Music has a
rhapsodic quality. But it is at the same time a clarinet quintet in the form of
a palindrome, so that its second half repeats in general outline and reverse
order the events of the first, and thus combines a sense of musical order with
freedom of movement. It is an attractive score, full of brilliance and light..."
London Observer
About
Sonata No. 1 for Violin and Piano:
"Although it makes an immediate impact, the subtleties of
this very concentrated work are not to be appreciated in a single hearing
...There can be little doubt that this work will come to be regarded both as one
of the composer's finest achievements and as a major addition to the repertory."
Glasgow Herald
"Hamilton has produced a well-conceived and interestingly executed twentieth-century sonata." American String Teacher
About Spring Days
for Flute and Piano:
"The composer's language is well developed and utilised
consistently throughout the work. ...Students looking for something new and
different in a contemporary style will find these pieces an enjoyable challenge
without being too taxing. They are suitable for recital purposes, and offer
plenty o scope for individual interpretation." Johanna Selleck, Australian
Music Teacher
About String Quartet No. 3:
"A three-movement piece containing an impressive variety of ideas and textures and
radiating a fluency, and at times ebullience...Hamilton has created something worthwhile
and beautiful simply for itself." — The Times (London)
About
Symphony No. 3 ("Spring") in G
for Orchestra:
"... a pleasant and successful essay in an undemanding and
thoroughly accessible manner. ...There are some ingenious passages of thematic
working, and ingenuities of texture, too, in the course of this slight work,
which should prove a gift to the slender modern repertory of smaller
orchestras." Desmond Shawe-Taylor, Sunday Times (London)
About
Symphony No. 4 in B
for Orchestra:
"The four movements of the new work carry, on the whole, not
only an impressive charge of emotion but are sustained with a keen ear for
timbre and a brave ear for tonality." Conrad Wilson, The Scotsman
About
Tamburlaine, Lyric Drama in 1 Act:
"The lyrical set pieces abound...with much graceful writing for voices and much
attractive music for orchestra..." — The Times (London)
About Te Deum, Homage to
Venice:
"A blazing affirmation of the human spirit...extremely accessible at an initial
hearing. Its impact will surely grow with repeated hearings...and should enter into the
international repertory rapidly." — Durham Morning Herald
"It was a model of concision. It was impeccably composed with not a single note too many. The imaginative interplay of the chorus and the striking instrumental ensemble of wind, brass and percussion not only memorably conveyed the jubilation contained in the words, but also brilliantly evoked the unique quality and atmosphere of the city of Venice, to which it was also intended as an act of homage." Robert Henderson, London Daily Telegraph
About
Vespers,
1980:
"... thoroughly British, thoroughly magnificent...
The varied, impressive score substantiates clearly Hamilton's rank as the
foremost of contemporary composers in England and possibly in the world.
Vespers, 1980 is a major new work that will endure." The Durham Sun
"... an introspective, impassioned and humanistic testament to hope and serenity of the spirit... Vespers is a work of real beauty. holding the listeners attention and proving to be both moving and persuasive. It is a fine addition to the repertoire of choral compositions written in the 20th century." Chapel Hill Newspaper
About
Voyage
for Horn and Chamber Orchestra:
"It is undoubtedly one of
Iain Hamilton's finest achievements, and it makes a strong emotional impact."
Glasgow Herald
"The thematic material is fragmentary but unbelievably rich in substance and amount. The work builds and builds and builds, exacting the utmost virtuosity from all concerned; it voyages over a vast terrain of color, movement, expression, and invention, never flagging for a second, but becoming more and more intense with each moment until you are left almost limp and exhausted with the power of this marvelous score...Now that Stravinsky is gone, let us rejoice that the world possesses an Iain Hamilton." — High Fidelity
"... a virtuoso piece of utterly contemporary demeanor. It is extraordinarily refined. The textures are glowingly transparent and loaded with vigor and color. The degree of musical intelligence and technical facility are impressive in the extreme." Stereo Review
Page last updated March 2003.