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David Farquhar  

A Christmas with Carols

Duration: 31' 00" Year: 1994
for SATB choir and narrator with organ

Bryony Jagger  

A Poet's Requiem

Duration: 1h 15' 00" Year: 1998
for 3 narrators, soprano, mezzo & contralto soloists, choir and orchestra

Gillian Whitehead  

Angels born at the speed of light

Duration: 1h 00' 00"
for narrator, dancer and improvising trio (flute/saxophone, percussion, piano)

Helen Fisher  

Bone of Contention

Duration: 1h 20' 00" Year: 1993
a dance work for mezzo-soprano and ensemble

Lyell Cresswell  

Cello Concerto

Duration: 30' 00" Year: 1984
for cello and orchestra

  • Instrumentation
    3+pc,3+ca,3+bs-cl,3+c-bn; 4331;3perc,timp,hp;strs and solo cello.
  • Programme Note

    An essay in tension between soloist and orchestra. In the first movement long cello solos are contrasted with outbursts from the orchestra; in the second movement cello and orchestra merge – the cello sound coloured by various doublings; and the last movement is a moto perpetuo again contrasting soloist with orchestra. Premiered by cellist Alexander Baillie, conducted by Matthias Bamert and the Scottish National Orchestra.

  • Availability

Christopher Blake  

Concerto Aoraki

Duration: 38' 00"
concerto for violin and orchestra

Lyell Cresswell  

Concerto for Piano and Orchestra

Duration: 30' 00" Year: 2010
for piano and orchestra

  • Programme Note

    The composer writes: "Movements 3, 4, 5 and 6 were written before Edward (Harper) died, but he was already ill with cancer and the whole concerto was written under the shadow of this.

    The first movement, Funeral March, opens with a sequence of low six-note chords in the piano. These chords provide the basis for the complete concerto and are treated in various contrasting ways in each movement. The orchestra becomes an extension of the piano, sustaining these chords and taking them where the piano can’t go. The concerto is not a confrontation between soloist and orchestra – the piano is more like another section of the orchestra. A slow throbbing, but varying, pulse runs through the Funeral March – first in the harp, sometimes the timpani, sometimes pizzicato and, at the climax, with brass and woodwind. In the following tranquil Adagio the six-note chords are turned into serene melodic lines with quiet sustained chords in the strings. The first scherzo is short, fast and restless. The central movement, Addolorato (distressed, grieved, upset), is, in turn, slow and reflective (in the piano), and querulous and disturbing (in the orchestra), posing questions rather than offering solutions. The second scherzo is fast, light and fleeting – with a hushed centre. The second Adagio is composed of slow, unsettled and quiet chords leading to an angry outburst at the climax, and the pace in the final presto is only interrupted briefly with some reference to Adagio 1."

    Extract from a review by Michael Tumelty for “The Herald” in Scotland, 19 March 2012.: “Stars of the night were Lyell Cresswell, for his volcanic, volatile Piano Concerto, and pianist Stephen de Pledge for his powerhouse delivery, with its sledgehammer force and shockingly steel-like clarity in the poignant, reflective moments in the music.”

  • Availability

Christopher Prosser   Jonathan Besser  

Dark Wind

Duration: 45' 00" Year: 1985
for violin and piano

Bryony Jagger  

Dreams in the Grass

Duration: 35' 00" Year: 1979
A fantasy for mezzo-soprano, treble recorder and narrator

  • Instrumentation
    treble recorder plays triangle, narrator should be male voice, and the mezzo is also required to dance. This work can also be performed by one person as a concert work, if the dance is omitted. Songs can be performed as separate works.
  • Availability

Michelle Scullion  

Foreign Bodies

Duration: 57' 00" Year: 1995
a dance musical