Discographies Archive - Claire Cope Music

Cold Earth

For Sinfonietta (11′)

Programme Note

‘Cold Earth’ is, at first, inspired by the novel of the same name by Sarah Moss. This book tells the story of a group of archaeologists who become trapped on an isolated dig in Greenland as a global pandemic takes hold. With only limited access to information about the outside world, a growing sense of remoteness and fear grips the group as many of them begin to hallucinate ghostly visitations, as past and present collide in this hostile environment.

The piece really centres on this idea of social fragility, both in terms of a pandemic-driven societal collapse, but also in terms of the current unstable political climate, and growing fears about the climate crisis. Grief is also a major theme of the work; as fears about the state of the pandemic grow, the characters begin to grieve their losses in isolation. This kind of social anxiety, growing hysteria and a collective sense of grief about the way our world is heading, became the emotional basis for this piece of music.

The piece opens with a sense of haunting desolation through slowly moving, eerie chords in the strings, punctuated by a more melancholic lyricism from the piano. The texture builds in density, with ominous syncopated undercurrents as the harmonic language widens, and the cold and desolate landscape opens up. The central part of the piece is more fragmentary in nature, with hints of the opening chords through solo woodwind lines, and an atmospheric piano solo, with strange string glissandi permeating the texture. A more plaintive theme emerges, before the texture begins to build in a more dramatic way, with a continuous foreboding pedal. Following an eruption into the most rhythmic and pulsating part of the piece, there is a sudden drop back into the denser chords of the opening, before all dissipates into glassy and fragile textures which surround the final, mournful melodic lines from the piano.

*World premiere given by the Philharmonia as part of their 2025-26 Composer Academy on Thursday 8th May 2026 at the Royal Festival Hall, London.

The Green Chapel

For Trombone Quartet and Brass Band (c.15’40)

Programme Note

For Bones Apart and Foden’s Brass Band

Located in Back Wood, part of the Dark Peak towards the Southwest of the peak district, Lud’s Church is a deep chasm penetrating the Millstone Grit bedrock, created by a massive landslip on the hill above Gradbach in Staffordshire. This mysterious cave-like hide-out is mossy and overgrown, and wet and cool even on very hot days; it is even thought to have its own micro-climate due to its depth and moisture.

It is also a place of fascinating history, mythology and supposedly paranormal activity. Lud’s Church is widely believed to be the setting for the climax in the medieval poem Sir Gawain and the Green Knight, referred to as ‘The Green Chapel.’ Some myths also suggest that Robin Hood and Friar Tuck are reputed to have stayed there whilst hiding from the authorities.

However, it is the fascinating connection between this hidden place and the 14th century Lollards, which has perhaps provided a most lasting and distinctive story behind this enigmatic place. The Lollards, a pre-protestant Christian group who rejected Catholicism, and because of their beliefs were persecuted and hunted down as heretics, supposedly used this cool cavern as a place to worship in peace. The name ‘Lud’ is supposed to have either derived from Llud, a Celtic god, or, more likely, from Lollard worshiper Walter de Lud Auk, who was captured during a raid of Lud’s Church.

According to Hugh Williams, ‘The congregation that met secretly at Lud’s Church was reputedly led by a priest named Walter de Lud-Auk and they say he looked after his orphaned granddaughter Alice, a beautiful young woman with “an unearthly voice” who would sing a verse of each hymn solo and entrance the assembled Lollards.’ It is said that during the same raid, Alice was accidentally killed during the arrest, and that her ghost haunts the chasm to this day, clad in white and singing loudly in her ‘unearthly voice’. This legend has been passed down through the centuries, and was commemorated in 1862, when a small figurine was placed above Lud’s Church by then-landowner, Phillip Broklehurst, in remembrance of Alice, or ‘Lady Lud’ as she came to be known.

Over time, Lud’s Church has been referenced extensively in local folklore, the earliest reference of which involves a story in which the Devil scraped his finger along the earth’s surface, thus creating Lud’s Church.’

Movement I – ‘Tranquil, Hidden, Cool’ (6’40)

Ambient, cold and eerie percussion permeates the opening, producing a dark and cave-like atmosphere, with whispering wind through the cornets. The trombones enter with unnerving, dissonant glissandi, underpinned by strange, muted harmonies elsewhere. Alongside a ghostly upward arpeggio motif, gradually more tranquil melodic ideas imbue the score, rising towards more triumphant fanfare chords in the whole ensemble. Soon, more calm and serene pedal, suspended harmonies infuse the movement, with cascading melodicism in the cornets and trombones, and softly ringing percussion, evoking a sense of this serene and peaceful place.

Movement 2 – ‘The Girl with the Unearthly Voice’ (4’)

The quartet begins the movement with a plaintive chorale, that soon opens into a livelier dance, full of counterpoint and imitation. There is a more energetic development of the opening chorale within the whole band, before the quartet introduce a more percussive, syncopated section. The band develop once again the contrapuntal dance, before a calmer and more reflective iteration upon a drone of the movement’s main melodic theme. The movement ends with a darker, more sombre repetition of the opening chorale from the quartet.

Movement 3 – ‘The Shot’ (5’)

This movement unfolds as a dramatic ‘hunt’ for the Lollards and the fatal wounding of Alice. There is an intense opening, with repeated and overlapping stabbing semiquavers becoming the major theme of the movement. The quartet soon take over with some virtuosity, as their lines interweave and interject with this accented motif. An ominous and more syncopated bass line motif takes hold at certain points below varied rhythmic interjections and decorations within the band, and in the centre of the movement a drone-like feeling of suspension occurs, signalling the fatal shot. The movement ends with some reminiscence of the serene atmosphere of the first movement, before ghostly chromatic lines interweave in muted cornets and then the trombones, suggestive of the supposed continued haunting of Alice’s ghost at Lud’s Church.

* Commissioned by the RNCM International Brass Festival. World premiere performance given by Bones Apart Trombone Quartet and Foden’s Band on Friday 23rd January 2026, at RNCM International Brass Band Festival, Manchester.

I Lie Alone

FOR SATB Unaccompanied (3’30)

Programme Note

Sappho – The Moon is Down (fragment)
The silver moon is set;

The Pleiades are gone;

Half the long night is spent, and yet

I lie alone.

(Translation by J. H. Merivale, 1883. Referenced in The Project Gutenberg EBook of Sappho, by Henry Thornton Wharton).

This four line fragment, commonly attributed to Sappho, describes a woman alone at night. The text has a distinct sense of immediacy, with its simple but direct imagery; the poem describes a ‘silver moon’ and the visibility of the constellation Pleiades, an important cluster in Greek mythology that symbolized the seven daughters of Atlas and Pleione. There is a sense of waiting through the long hours of the night, and a melancholic but intimate sensibility. As Odysseus Tsagarakis wrote “the feeling of loneliness is most beautifully expressed by Sappho” in this fragment.

Ghostly, dissonant harmony evoking an image of the ‘silver moon’ emerges at the opening, increasing in density and rhythmic intensity. The observation of the constellation Pleiades being ‘gone’ from the night sky is explored through a kind of melancholic polyphony, before a development of the close, cluster harmony of the opening returns for the poem’s final, mournful line ‘I lie alone’. The woman’s drifting thoughts continue into the night, through eerie, mysterious humming at the very end.

*World premiere performance given by the Marian Consort at Music at Malling Festival, West Malling on Friday 26th September 2025.

The Crossing

For Tenor Saxophone and Piano (7′)

Programme Note

The Tongariro Alpine Crossing on the North island of New Zealand is regarded as among the top ten single-day trek’s in the world. Located in New Zealand’s oldest national park, and a UNESCO World Heritage Site, the 12 mile hike features unique landforms, including the volcanic peaks of Ngauruhoe, Tongariro and Ruapehu.
‘The Crossing’ is a musical journey through this unique and other-worldly landscape. Beginning in the very early morning, still dark and silent, the gently undulating piano appoggiatura’s gradually increase in density, signally gently building birdsong. Sunrise is indicated through a sudden shift into slowly moving piano chords. This steady climb along board walks in the Mangatepopo Valley builds into a steeper climb up a staircase to a short plateu in South Crater, and here the tenor saxophone line builds in intensity. At the Red Crater, the highest point on ‘The Crossing’ at 1886m, the music breaks into a more intensely rhythmic dance, gradually building in movement and therefore breathlessness. This soon gives way to the eerie, calm, and more tranquil motif that represents the mysterious and other-worldly Blue and Emerald Lakes, built upon an unevenly undulating rhythmic motif. Eventually, the opening ‘sunrise’ chords return, along with a darker and more reflective iteration of the birdsong.

Commissioned by Andy Scott

Everything is Vibration

For Flute and Piano (6′)

Programme Note

The concept of frequencies and vibrations has important implications for our understanding of the universe. It suggests that the universe is not made up of discrete objects, but rather a continuous field of energy and vibration. Everything is connected and interdependent, with each part of the universe affecting every other part.” (Photon. (Feb. 24 2023) ‘The Harmonious Universe: Understanding how everything is made up of frequencies’, Medium. [online]

This piece is inspired by the notion that everything in the universe is connected through vibrations – from atoms, to sound waves, to living organisms and people. The opening explores intricate rhythmic ‘intermingling’ in the upper register of both the flute and piano, representative of atoms and particles ‘whizzing’ around in constant movement. At times, distinct and accented percussive moments cut through the texture, whilst a more slowly syncopated motif resonates like a sound wave or vibration, as if we can see single atoms or features of the universe suddenly illuminated amongst the complexity of the universe as a whole.

The calmer and slower central section explores more resonant and eerie harmony and alludes to this complex movement suddenly occurring in slow motion, in a more lyrical and expressive way. As the music becomes lively again, the rhythmic density of the opening is explored in the lower register of the piano, and the chaotic interplay between the flute and piano continues to develop, before finally dissipating into nothing at the very end.

*World premiere performance given by Iva Ugrčić and Satoko Hayami at the National Flute Association Convention in Atlanta, Georgia on 10th August 2025.

Recording coming soon.

Meprex

For a Mixed Ensemble of 9 performers (7′)
2fl. 2sax(sop+alt). 1tpt. 1tbn. 1tb. 1vla. 1vlc.

Programme Notes

In Mongolian, ‘мөргөх’ means ‘to pray’, and this piece is a meditative exploration of what the concept of prayer may mean to different people. The majority of the piece is formed around the idea of ‘stillness’, constructed through close, dissonant harmony and a sustained, blended sound. There are brief moments of intensity and impact within this stillness.

The central section has a greater sense of movement, and here is where individual voices come more to the fore through a denser and more contrapuntal texture, perhaps in prayer, perhaps just in hope. Inspired by the gently moving chord sequence of ‘Mother and Father’ by Mongolian musician Bukhchuluun Ganburged, this section becomes increasingly re-harmonised as the lines become more intricate. In the final section, the opening melodic idea is played once more by muted trumpet, above intense harmonies. Gradually, this becomes more distant, until all sound fades.

Through the Spiral

For Brass Band and 3 percussionists (4′)

Programme Note

This piece is about a short but exciting journey through our great Milky Way galaxy! At first, a gradually building texture increases in density as more and more stars begin to shine in the blackness. This gives way to large-scale chords, rising and falling in great height like giant nebula and cloud dust. A more majestic and expressive chorale takes over, as we move past great planets and moons. As the opening star-like texture returns, building in intensity and with added percussion, we near a black hole, at the centre of the galaxy. The final rhythmic section is a race back through the galaxy, as stars, nebula, planets and asteroids whizz by, concluding with a triumphant fanfare as we take a look back at the great ‘Spiral’.

*World premiere performance given by the Fairey Brass Band at the Royal Northern College of Music Young Explorers Concert on Sunday 16th March 2025

Published with Astute Music

Agita

for Symphony Orchestra (c.4′)
3(III=picc).3.3(III=bcl).3(III=dbn) – 4.3.3.1 – timp.perc (3) – harp – strings

Programme Note

The word ‘agita’ is thought to have arrived in New York via Italian immigrants around the turn of the century. Derived from possible sources in Italian such as ‘agitare’ (to ‘trouble’), or from the Latin ‘agitare’ meaning ‘to stir up’, it has clear connotations with restless and turbulent energy. There is also a darkness to it, that indicates being in an anxious and troubled state of mind.

This piece is a frenzied dance that drives forward with relentless energy for almost its entirety. Aside from one very brief moment of uneasy calm, the uneven rhythmic motif of the opening builds in intensity until all bubbles over into a slight loss of control, before dissolving into a more melancholic moment of reflection.

* World premiere performance given by the New Jersey Symphony Orchestra, conducted by Christopher Rountree, as part of the Edward T. Cone Institute at Princeton University on Saturday 19th July 2025.

In Its Light

FOR SSAATTBB Unaccompanied (6′)

Programme Note

‘In Its Light’ is a setting of Du Fu’s poem ‘Full Moon’, in the English translation by David Hinton. The poem describes with wonder and reverence the majesty of the moon and how its light interacts with earth’s landscape, through much colourful and sensuous imagery. In this piece, I wanted to explore the interesting relationship humans have with the moon, in some ways unchanged since Du Fu’s time. On the one hand, it is eerie and other-worldly; uninhabitable and cold. At the same time, however, it is part of our landscape every day, and all across the world. It connects us, and is inherently interconnected with Earth’s nature and atmosphere, and therefore with us as people.

The piece begins with ghostly harmony, that gradually builds in intensity. This gives way to a more emotive melodic idea that sets the first half of each verse, before drifting into a wave-like rhythmic sequence to convey the movement of the moon, its gravitational pull on our oceans, and its shifting light on earth. The piece is rather harmonically fluid, and culminates in a final bell-like coda that conveys gradually expanding drops of moonlight in a joyful and emphatic setting of the poem’s final line, ‘All ten thousand miles at once in its light!’

* First performed by The Carice Singers, directed by George Parris, at College Hall, Worcester on Tuesday 30th July 2024 as part of the New Voices Composer Academy at Three Choirs Festival 2024.

Claire Cope Music · In Its Light (SATB Unaccompanied – performed by the Carice Singers)

Onwards, upwards

For soprano sax and piano (6:40)

Programme note

‘Onwards, upwards’ is a direct reaction to receiving negative judgment and rejection as a musician, and is about dealing with this idea of having your musical voice questioned with resilience and determination. At first, a light and rhythmic motif that is delicate and vulnerable is explored by the saxophone and piano as a single unit, as the fragments bounce off one another. As the piece progresses, a more definite and robust melodic idea becomes maintained by the saxophone, and the central section allows this voice to soar ever higher as the melody rises through a series of ‘upward’ harmonic shifts. This eventually breaks away into a more contemplative and reflective moment, before the original, more disjointed idea returns and the motif becomes thinner and more fragmented until the end.

Beneath the Grey

For Piano Trio (9′)

Programme note

“Depression is also smaller than you. Always, it is smaller than you, even when it feels vast. It operates within you, you do not operate within it. It may be a dark cloud passing across the sky but – if that is the metaphor – you are the sky. You were there before it. And the cloud can’t exist without the sky, but the sky can exist without the cloud.” Matt Haig.

‘Beneath the Grey’ is constructed within the traditional ‘arch-shape’ mould; a singular movement that comprises several sections of varying moods and tempos. However, it is also a somewhat personal, and human, journey through a depressed state of mind. Opening with a dark and intense harmonic sequence by way of a gently undulating piano motif, joined later by the pleading and expressive voices of the cello and violin, at first the sky is dark; the clouds are thick, vast, heavy and suffocating. As the piece progresses, there is further melodic development and increasing rhythmic interest as the clouds roll past and life continues to move forwards.

This eventually gives away to a more energetic, pulsing and stormy theme, articulated first through heavy octave motifs from the piano against accompanying pizzicato movement from the strings. But this energy is ‘false’ energy and gradually, as this theme builds, there are more frequent interjections of the first, pleading cantabile theme, constantly shifting through various harmonies. Eventually, this builds to a climactic breaking point with the opening theme becoming more fragmented in the strings. However, instead of building to further darkness, here the clouds finally lift and there is a brief moment of eerie tranquillity, as clearer skies are finally in view, and there is a new weightless energy.

This moment of repose is brief, however, and soon the dark clouds begin to drift across the sky once more. There is a return to the heaviness of the very opening as the first, gently moving piano theme begins again, and the cello and violin present their melancholic melodies with some further harmonic development, before a final, more silent and still interation of the opening.

*World premiere performance given by the Ardentia Trio at Emmanuel Church, Didsbury on 29th March 2025.

Small World

ABOUT THE ALBUM:

Claire writes:

I am really excited to release ‘Small World’, my debut album. Working with some of my favourite musicians, I have sought to combine a strong sense of melody with the textual versatility of a septet. Inspired by a love of travel, as well as the power of human connection and our common hopes, ‘Small World’ celebrates the great versatility, yet inherent ‘smallness’, of our world.

‘A Day in A Life’ was inspired by that feeling of sonder, a word of apparently unknown origin, but one that describes the overwhelming realisation of the complexity and uniqueness of each and every life of those around you.

‘Spirited’ is music inspired by very special trips to Kenya and, in particular, the slums of Kibera in Nairobi. A place of great struggle and hardship, it is also a place where the most sincere generosity and warmth of human spirit can be found, and celebrates the importance of taking the time to understand and celebrate divergent cultures.

The title track ‘Small World’ celebrates all that is the same and yet necessarily different within our many cultures, and is, hopefully, a joyous reminder that for the vast majority of the world, our hopes for a better and more tolerant place to live are universally shared.

‘Sea of Tranquillity’ is inspired quite directly by Damien Chazelle’s beautiful film First Man, a biopic that centres on the personal life of astronaut Neil Armstrong during the run up to the 1969 Apollo 11 mission, and the drama and beauty of Justin Hurwitz’s soundscape as Neil and Buzz Aldrin descend to the surface of the moon via the lunar module. Despite the dramatic beauty of this moment, it is perhaps the moments of silence after that are so captivating, as the viewer is drawn into the vastness and emptiness of an unexplored wonder, and the inevitable smallness of its human inhabitants.

‘Eyes Open’ is essentially a lullaby, inspired primarily by the birth of my beautiful niece Emma, that celebrates the feelings of peace and hope that come with all new life.

‘The Time Is Now’ is a reminder to live in the present, instead of the past or future, and make the most of all of life’s opportunities; to be proactive, seize and appreciate.

Finally, ‘Travelling Again’ is a song that sets the words of the great Chinese poet Du Fu, taken from his poem dated 761 of the same title. Apparently written following a second visit to the Temple for Cultivating Enlightenment in Chengdu, the words conjure the image of a weary traveller finding joy in the beauty of his surroundings. However, the words may also be indicative not only of a resting place for the present, but also for the future and at the end of life.

Claire Cope – Piano/synthesiser/compositions
Brigitte Beraha – Vocals
Rob Cope – Tenor saxophone
Jack Davies – Trumpet
Jon Ormston – Drums
Ed Babar – Electric Bass/double bass
Tom Varrall – Guitar

Recorded at Temple Studio with Justin Hill and Tim Redpath
Mixed and mastered by Rob Buckland
Artwork by Lydia Orange

With thanks to Brigitte, Rob, Jack, Jon, Ed and Tom for their tremendous talent and generosity, and my family for their unwavering love and support.

You can listen to the full album on Spotify or Bandcamp

Richard Turner: A Life in Music

Richard Turner: A Life in Music (original soundtrack)

For Solo Piano

Watch the full movie here:

Any sales on Bandcamp will go to The British Heart Foundation

Voices

VOICES

FOR SOPRANO SAXOPHONE (4′)

Programme Note

Voices is constructed from two musical voices that converse with one another. Inspired by the way in which we interact with our innermost, subconscious voice, sometimes positively and sometimes negatively, the lower harmonic structure at first supports the upper melodic line.

As the piece progresses, the voices become more interwoven, until these ideas are released into a more agitated and restless passage. This momentum gradually fades as the two original voices return, but this time more separated and distant from one another.

World premiere given by Rob Buckland on 24th September 2024 at Stapleford Granary

Three Short Studies for Trumpet

For Solo Trumpet – c. 05:10

Study No. 1 – 1:20

Study No. 2 – 2:10

Study No. 3 – 1:40

Trapped

For Saxophone Quartet (8:30)

Programme note:

The idea for ‘Trapped’ emerged during the third national lockdown in the UK during the Coronavirus pandemic, which occurred during January and March 2021. Less about the idea of being ‘trapped’ in isolation, which was a common feeling during the first lockdowns, this is more a reflection of those feelings of frustration and anxiety in which individual voices were unheard and ignored, whilst the systems around them remained unstable, chaotic and disruptive.

A constant driving rhythm, fluctuating between 4 and 7 time, hints at this chaotic urgency, whilst a simpler melody reflects those individual voices trying to be heard above the disruption.

The central section of the piece is a calmer exploration of sound, with a more pleading and contemplative melodic line that interweaves between the four instruments, before arriving in a sonorous chorale where all four voices move together in rich harmony.

Gradually, fragments of the opening rhythmic motif begin to disrupt the calm, and we are once more thrust into the driving and unsettled character of the opening, before, finally, elements of all sections are brought together to end in an agitated and fraught finale.

World premiere given by the Apollo Saxophone Quartet at the International Anthony Burgess Centre, Manchester on 5th November 2022.

US premiere given by the Ancia Saxophone Quartet at LunArt Festival in Madison, Wisconsin, on 1st June 2024.

Published with Astute Music

Claire Cope Music · Trapped for Sax Quartet (Apollo Sax Quartet)

Motherness Suite

For String Quartet (14′)

I The Moment

II The Little Seed Grows

III Fear, and Love

Programme note:

The ‘Motherness Suite’ is an intimate portrait of a journey into motherhood; an observation, and sometimes a celebration, of the new and very emotional path which new parents walk, and the intensity with which some of these new emotions can overwhelm.

‘The Moment’ is an emotive photograph of the point in time in which a new life enters the world. A moment incomparable to any other, this piece tries to envelop the listener in sound and in an intense harmonic landscape, constantly shifting from uneasy, to joyous and all-consuming, just as this moment completely overcomes those in its presence.

‘The Little Seed Grows’ is a playful and often jubilant rhythmic dance that never stops, capturing the endless growth, change and constant upheaval through a constantly moving pizzicato train, and many harmonic twists and turns. There is a poignancy in the melody to the way in which time forever moves forwards, and this ‘little seed’ will never be so little again.

‘Fear, and Love’ is a tender but sorrowful portrait of a mother’s love and the way in which this love so intensely connects to a constant fear of loss. Sometimes this fear overcomes, sometimes it is kept at bay. For some it has become a reality, and this piece is dedicated to all the mothers who have suffered this loss.

Photo Credit: Ingrid Timmerman

Claire Cope Music · Motherness Suite for string quartet

When the World Awakes

When the World Awakens

For Large String Orchestra and Percussion (9′)
perc(3)-strings.10.8.6.6.4

Programme note:

The complexity and diversity of the natural world is overwhelming. The simplicity of what it takes for nature to heal and show its resilience however, is equally startling.

When the global pandemic hit our world in 2020, humanity was forced to change its damaging behavioural patterns for the first time in a long time. The way the natural world reacted has been documented by many. In cities, we heard birdsong instead of airplanes, saw wildlife venturing more confidently into our urban world, and ultimately appreciated the very existence of nature and the ‘outside’ more than ever. Try as we might, and love our world as much as we think we do, we remain a constant threat to our great planet, and to ourselves.

Our desperation to get back to ‘normal’ and to live as we did before exists in all of us. The threat we pose to the future of our planet remains until we accept that we need to move forward differently.

Inspired by the idea of a pastoral lament, which becomes at times unhinged by something more unsettling, this piece is about the innocent fragility of the natural world; the dominant threat of humans and the city, and the need for us to respect and work together with our planet, instead of against it.

Cold Earth

Cold Earth

Cold Earth

For Sinfonietta (11′)

Programme Note

The Green Chapel

The Green Chapel

For Trombone Quartet and Brass Band (c.15’40)

Programme Note

I Lie Alone

I Lie Alone

FOR SATB Unaccompanied (3’30)

Programme Note

The Crossing

The Crossing

For Tenor Saxophone and Piano (7′)

Programme Note

Everything is Vibration

Everything is Vibration

For Flute and Piano (6′)

Programme Note

Meprex

Meprex

For a Mixed Ensemble of 9 performers (7′) 2fl. 2sax(sop+alt). 1tpt. 1tbn. 1tb. 1vla. 1vlc.

Programme Notes

Through the Spiral

Through the Spiral

For Brass Band and 3 percussionists (4′)

Programme Note

Agita

Agita

for Symphony Orchestra (c.4′) 3(III=picc).3.3(III=bcl).3(III=dbn) – 4.3.3.1 – timp.perc (3) – harp – strings

Programme Note

In Its Light

In Its Light

FOR SSAATTBB Unaccompanied (6′)

Programme Note

Onwards, upwards

Onwards, upwards

For soprano sax and piano (6:40)

Programme note

Beneath the Grey

Beneath the Grey

For Piano Trio (9′)

Programme note

Small World

ABOUT THE ALBUM:

Richard Turner: A Life in Music

Richard Turner: A Life in Music (original soundtrack)

For Solo Piano

I A Life

II The Beginning

III Music

IV At The Con

V Darkness

VI Always Here

Watch the full movie here:

Voices

VOICES

FOR SOPRANO SAXOPHONE (4′)

Programme Note

Three Short Studies for Trumpet

Three Short Studies for Trumpet

For Solo Trumpet – c. 05:10

Trapped

Trapped

For Saxophone Quartet (8:30)

Programme note:

Motherness Suite

Motherness Suite

For String Quartet (14′)

Programme note:

When the World Awakes

When the World Awakens

For Large String Orchestra and Percussion (9′) perc(3)-strings.10.8.6.6.4

Programme note:

For a Mixed Ensemble of 9 performers (7′)
2fl. 2sax(sop+alt). 1tpt. 1tbn. 1tb. 1vla. 1vlc.

for Symphony Orchestra (c.4′)
3(III=picc).3.3(III=bcl).3(III=dbn) – 4.3.3.1 – timp.perc (3) – harp – strings

For Large String Orchestra and Percussion (9′)
perc(3)-strings.10.8.6.6.4