It is probably better not to order direct from INTRADA (based in Heerenveen, Holland). If the piece is published by INTRADA, I will order it and then send it on to you and you pay me ( either cheque or bank transfer) once I have worked out the price.
I suggest you make contact via the contact form on the website or else e-mail me. I will let you know the cost + postage and then send the music on to you. You can pay by cheque or bank transfer.
"Aubade" for organ was written at Bangor in February 1980 and is prefaced by a quotation from A.E.Housman's - More Poems XV111 - "Delight it is in youth and May to see the morn arise." The first performance was given by the composer at an organ recital in Bangor Cathedral on July 8th, 1980. The opening "Nocturne" begins softly and mysteriously with wide intervals in the interweaving melodic lines. The musical language here is atonal, but the whole section is marked by a recognisable motif. A short quasi aleatoric section provides a massive crescendo as night turns to day.This leads to a short cadenza passage of brilliant writing for the manuals leading to a long ecstatic trio section suggesting the dawn chorus. The main motif here is a transformation of the motif that opened the "Nocturne".
This piece was extensively revised in September 2007 and awaits a first performance in its new format.
This anthem uses words from Psalm 93 in the revised Psalter version. It was written in July 1980 at Bromfield and dedicated to J.Ivor Rees, the Dean of Bangor Cathedral at That time.It is as yet unperformed. The organ part is demanding and independent of the vocal parts which are largely homophonic. The striding organ introduction with dissonant fanfares suggest the majesty of God ruling over the earth and seas. The imagery of the flood is very marked in the middle section. The tension subsides on "Thy testimonies are very sure" and there is a Treble solo on "Holiness becometh thine house, O Lord, for ever." Here, the musical language is more delicate.
Spoken part for a Narrator.
"Go, Go, Goliath" was another collaboration between the composer and librettist Ian Barge, head of English and Drama at Ludlow College. This humorous/ dramatic cantata was first performed at High Hall, Ludlow College on December 4th and 5th, 1980 by students of Ludlow College. The Director was Nicholas Arney, the composer played the piano and there as an unknown saxophonist. Eleanor Hewitt sang the part of David in Part Six and Trevor Cole the part of Goliath in Part Two.The Narrator was Stanton Stephens. The performance was followed by Tom Stoppard's "After Magritte" and both items were reviewed in the "Ludlow Advertiser". The performance was recorded and transferred to CD."Go,Go,Goliath" has a quite elaborate piano part, and the musical style is rhythmic with some influence of jazz and other popular styles.
Of all the composer's settings of the Magnificat and Nunc Dimittis, this is the most complex and elaborate.The rhythmical setting of the Magnificat is often in a quintuple metre with frequent changes of time signature. The language is freely tonal (modal) with some dissonance.The organ part is elaborate and demanding with much trio playing. The texture of the Magnificat is often contrapuntal,and the organ part is completely independent of the voices yet the whole is interleaved. The piece is aimed at a highly competent Cathedral choir and organist. It is as yet unperformed. the Nunc Dimittis opens with a Baritone solo accompanied by a gentle rocking figure in septuple time.Each phrase is answered by a quartet of singers. Some of the interludes in the organ part suggest birdsong. The animation on "To be a light to lighten the gentiles borders on the ecstatic. The Gloria modifies the rocking rhythm of the opening, and a steady four in a bar pulse is maintained to the end. elements of the Gloria from the Magnificat are recalled. The setting was originally to be called "The St Michael's Service" in homage to St Michael's College, Tenbury Wells, but this title was dropped after the College closed in 1985. The piece is influenced by the singing of that marvellous choir, and the beauty of the surrounding Worcestershire countryside.
This extended piece for organ was written at Bromfield between December 1981 and January 1982. It was entered for the Lloyds Bank National Composers British Award in association with the Cornhill Festival of British Music. It was first performed by the composer at a recital in Hereford Cathedral on August 11th, 1982 and subsequently at Bangor Cathedral on August 17th. The overall style is freely tonal with some dissonant elements appearing in the contemplative sections and towards the final section. The piece opens with a fast and rhythmical section based on a motif derived from the hymn. There are many changes of time signature. After a mighty unison statement of part of the hymn, a contemplative section follows alternating slow meditative ideas suddenly interrupted by short fast snippets of the hymn. The middle section is a broad Carillion-like section owing much to the composers earlier Carillion no.2. Op.11 (1976). A return of part of the contemplative section returns, before a joyful reprise of the opening rhythmical music. A joyful Coda unfolds the great hymn-tune in all its glory.
This piece has been recorded by Paul Derrett at the Liverpool Metropolitan Cathedral as part of the double CD "Mystical Vision"
This setting was written in Ludlow in August 1984. It is far less elaborate than the G flat setting, but the language is more chromatic and dissonant, and the style is more directly homophonic. It would require a very good choir and organist to do it justice. The opening of the Nunc Dimittis finds the choir slowly moving in close 2nds against an almost static accompaniment. The Gloria relates to a theme from the Magnificat.
These short, aphoristic miniatures were dedicated to the clarinettist Anthony Worsdell and were written in Ludlow between July 31st and August 1st, 1984. The musical style is much more compressed than in the composer's earlier pieces for clarinet and piano. They are somewhat exper- -imental in nature and are influenced by composers such as Webern and Ligeti. Inspiration came from the countryside around Clun in Shropshire.
The pieces were thoroughly revised in 2008 and await a first performance in their new format.
Anthem for S.A.T.B. Choir and Organ.
This Festival anthem , dedicated to the late Ran Ogston (who was for a long time Honorary Assistant organist at St Laurence's Church, Ludlow) was written in April 1985. It was revised in March 2001. The words are based on Psalm 105 vv 1 - 7.
This Sonatina was written in Ludlow in October 1985. It is in five short mvements. The music is quite tough and angular, with wide leaps in the Saxophone part. The influence of America is fairly present in this piece. The piano writing is sparser. The 4th movement pays homage to a popular msical form. The piece is as yet unperformed.
This piece was thoroughly revised in July 2008 and awaits a first performance in its new format.
The Sonatina for Flute and Piano was written in Ludlow in November 1985. It is dedicated to The young flautist Henrietta Hely-Hutchinson. The piece is as yet unperformed. The first movement is fast, short and rhythmic.The second movement Intermezzo is almost rhapsodic in nature.The third movement is a fast dance in septuple time thoughout often reversing the three + four rhythm to four + three.
This piece was thoroughly revised in June 2008 and awaits a first performance in its new format.
This arrangement of Psalm 150 uses words from the New Liturgical Psalter. It was written in March 1986 for the choir of St Laurence's parish church, Ludlow and has been performed in St Laurence's Church by the same choir. The opening has been used in the later Te Deum and Benedictus (2001/2) and elsewhere.
This little march was written on the 1st/2nd of September 1987 to celebrate the restoration of the one manual Nicholson organ in Neen Sollars church (near Cleobury Mortimer, Shropshire). It was first performed by the composer at the re-dedication ceremony at Neen Sollars church on September 29th, 1987. The piece has been recorded by Paul Derrett on the organ of Keele University chapel and issued as part of "Benchmarks" Volume 2 (recorded in 1997. The number of the CD is 806802 CD. The Little March is dedicated to Victor Axelberg, the then churchwarden of Neen Sollars Church.
This piece is now no.2 of "An album of early pieces for the organ".
Christmas carol for S.A.T.B. Choir and organ arranged by Richard Francis.
This arrangement was written in November, 1987 and has been sung several times by the choir of St Laurence's Parish Church, Ludlow. The choir made a recording which was broadcast by Classic FM radio in December 1987. A perky little tune for organ introduces the verses sung alternately by SA and TB. An unusual feature is the shift up and down of a semitone that takes place during the course of the carol. The final verse is sung full, leading to a joyful conclusion.
for S.A.T.B. Choir, Congregation and organ
This setting of the Mass uses the Anglican ASB Rite A (now replaced by Common Worship). It was written for use at St Laurence's church, where it was used regularly between 1988 and 2007.
A carol for solo Soprano/Treble S.A.T.B. Choir and organ
This short carol is set to medieval words. The style is slightly austere and economical in keeping with the words. The carol exists in Ms form. It has been performed by the Choir of St Laurence's Parish Church, Ludlow. It has been used later in "This Little Child" (1997).
for Organ solo.
This organ piece was commissioned by MANGAR AIDS LTD ( a firm specialising in lifting appliances for infirm people.) The managers, David and Francesca Garman required some background music for a promotional video of their factory near Llandrindod Wells. The piece required a strongly pastoral flavour, and this background in the music was centered around the Welsh folk-tune "Bugeilor Gwenith Gwyn", known in English as "The Silver Wheat" or "Idle days of Summer". The piece has been reorded by Paul Derrett as part of his "Benchmarks" series. Volume 7 Ludlow and Leominster (recorded in 2002. The number is 806807 CD.
This piece is no.6 of "An album of early organ pieces".
Christmas carol for S.A.T.B. Choir and organ.
This short Christmas carol is based on words from Wedderburn written in 1567. The carol was written in December 1989.
This setting of the Magnificat and Nunc Dimittis is mainly homophonic with a flowing organ accompaniment in the Magnificat. The key is a modal D minor. The Nunc Dimittis begins with a Bass solo. The piece exists in Ms form and has not, as yet, been performed.