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Cimmerian Cerulean Orb was inspired by the image of our small planet as seen from the outer edges of the solar system, and the idea of its past (or potential future) existence without life. A variety of effects and extended techniques were used to represent some of the sounds of our elements – air, water, fire, earth, combined with certain electronic manipulations that signify the planet’s connection with the cosmos. A structure of sparsity with extended soft sections expresses the desolateness of the expanse, sometimes interupted with violent outbursts.

• Long: Cimmerian Cerulean Orb 

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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.”

• Cresswell: Concerto for Piano and Orchestra; computer-set 

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• Cresswell: Concerto for Piano and Orchestra; computer-set 

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• Lyell Cresswell: Concerto for Piano and Orchestra 

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for bass clarinet in Bb, alto flute
percussion — kick-drum, snare drum, low tom-tom, low woodblock, high woodblock, medium cowbell (muted), hi-hat, high ride cymbal, medium splash cymbal, thin metal sheet, cabasa, rainstick, tibetan bowl (F if possible), vibraphone, marimba;
narrator — amplified with microphone and/or paper megaphone and power megaphone;
piano (nylon fishing line rosined), violin and violoncello

“In the beginning, there was nothing. Just the water.”
“But where did all the water come from?”

Throughout Thomas King’s novel the character of the trickster Coyote reappears, hopelessly bamboozled, trying to learn what really happened when the world began. Who knows the Real Story? Coyote would like to think he does, but then there’s Coyote’s Dream – “gets loose and runs around. Makes a lot of noise”. Coyote’s Dream has his own idea about things: “I’m in charge of the world”. By the end of the piece, you’ll be wondering where all that water came from…

• Palmer: How it Happened; computer set 

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• Palmer: How it Happened; computer set 

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• Palmer: How it Happened; computer set 

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• Juliet Palmer: How it Happened 

  Digital sound file - MP3
  

Inner Bellow was written for the clarinettist Gretchen La Roche in 2009-10.

• Chris Cree Brown: Inner Bellow - hardcopy score & CD part  Year: 2012 

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• Chris Cree Brown: Inner Bellow; video 

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• Chris Cree Brown: Inner Bellow; video 

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• Chris Cree Brown: Inner Bellow 

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• Killin: Melody for Violin and Yangqin; computer-set 

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• Killin: Melody for Violin and Yangqin; computer-set 

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Originally used to describe the wake left in water by passing ships, the word ‘sillage’ has come to be used by perfumers to describe the scent trail left by a perfume. This piece takes its structure from a Frederic Malle fragrance (Bois d’Orage) by Pierre Bourdon (the only protégé of Edmond Roudnitska (Diorissimo) and one of the most innovative perfumers of his generation).

The tape part is available on request.

• Holloway: Sillage; computer-set 

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• Holloway: Sillage; computer-set 

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• Samuel Holloway: Sillage; video 

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• Samuel Holloway: Sillage; video 

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• Samuel Holloway: Sillage; video 

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• Samuel Holloway: Sillage 

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• John Psathas: Songs for Simon - hardcopy score & CD 

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• John Psathas: Songs for Simon; video 

  Media on Demand | Embedded
  

• SOUNZtender Concert - 2010 

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• John Psathas: Helix  Year: 2011 

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3*2*3*3*, 4331, timp, 3 perc, strings

Written in 2010 this is my first large-scale orchestral work.
Each of the four movements is based on the idea of one of the four classical elements – Fire, Water, Air, Earth. It also contains an idea of the creation of the world.
It employs a large orchestra and is fairly traditional in form and structure. Each of the movements has thematic links which unify the piece.

• Vinten: Symphony - The Elements; computer set 

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digital effects, preset sounds, live loops

• The Juniper Passion  Year: 2011 

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Piccolo, Flute, Oboe, Cor Anglais, Bb Clarinet, Bass Clarinet, Bassoon, Contra-bassoon, 4 Horns in F, 3 Trumpets, two Trombones, Bass Trombone, Tuba, Timpani, Vibraphone, Congas, Snare Drum, Harp, Narrator, Strings.

The story of “The Radish and the Shoe” was created by French Canadian artist Louise Jalbert and set to music by Andrew Perkins. Jalbert’s book won the Parents’ Choice Award when it was first published in California in 1984 and has since been republished. The characters, a Radish, a Shoe and a group of Letters, all reside inside a book which they call their home. One day a pair of scissors attacks the book, destroying the characters’ home, leaving them completely despondent. However, they pick themselves up and repair their book, and in the process inadvertently transform their ‘home’ into something more beautiful than before. The story is cleverly analogous with survival in the real world and one that has always rung resonances with the philosophical approach to life Andrew Perkins has always attempted to instill in his students.

• Perkins: The Radish and the Shoe; computer set 

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• Perkins: The Radish and the Shoe; computer set 

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• Andrew Perkins: The Radish and the Shoe 

  Digital sound file - MP3