Instrumental Music/Organ
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Toccata Nuptiale
(1993) |
This popular work combines the style of a French toccata (particularly the language of Vierne) with the old music-hall ballad 'Daisy, Daisy, give me your answer, do'. It was written for the wedding of a friend who was a cycling enthusiast and premièred by the composer in the United Reform Church in Heswall, Wirral. Since then it has been performed around the world and has been recorded commercially three times. It is regularly performed by Michael Stairs on the organ of the Wanamaker Store, Philadelphia, USA and by Dr John Kitchen on the organ of the Usher Hall. Toccata Nuptiale is on the diploma syllabus of the London College of Music (see p. 4).
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Wedding March
(1996) |
Composed for the Wedding of Alastair & Louise Crammond. Premiered by the composer in the Methodist Church in Heswall, Wirral.
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Available from the composer
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Suite
(2003) 1 Intrada 2 Aria 3 Fugue 4 Scena 5 Toccata-Sortie |
Premièred by the composer in a recital at St Matthew’s, Bethnal Green, London.
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Variations on Falcon Way
(2006) |
The theme is one of the composer’s own hymn tunes, published in The Hymns and Letters of Ann Griffiths (Stainer & Bell, 2000).
First performed by the composer in a concert at the Parish Church of St Dunstan and All Saints, Stepney, London, the work has subsequently received numerous further performances, including by Andrew Wilson in a recital at Bath Abbey. |
Published on Score Exchange
To be published by Paraclete Press |
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Invocation and Paean
(2006) |
First performed by the composer in a recital at the Parish Church of St Margaret, Lee, London.
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Prelude and Fugue
(2008) |
First performed by the composer at the Parish Church of St Margaret, Lee, London.
Other performances include the Annual Festival of New Organ Music at St Marylebone Parish Church. |
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Fanfare on CANADA
(2009) |
Composed for the Centenary of the Royal Canadian College of Organists and premiered by the composer at St Marylebone Parish Church in the 2009 Annual Festival of New Organ Music.
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Processional
(2011) |
Commissioned by Mr Andrew Colley and Miss Vanessa Hare as the Bridal March for their wedding (July 2011) and premièred by Duncan Atkinson.
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Three pieces founded on Welsh hymn tunes
(2011) 1 Prelude (Aberystwyth) 2 Intermezzo (Blaenwern) 3 Toccatina (Trefaenan) |
Premièred by the composer at a recital in St German's Church, Cardiff, on 28th October 2011.
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Jubilate
(2012) |
Composed at the request of Brian Williams, Organist of St German's Church, Cardiff.
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Published on Score Exchange
To be published by Paraclete Press |
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Elegy
(2013) |
An adaptation of 'A Sad Pavan' (piano solo composed in 2001).
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Prelude and Fugue on the name of Durufle
(2014) |
The Fugue (composed first) was premièred by the composer after Choral Evensong at Southwark Cathedral on 5th July 2014.
The complete piece was premièred after the Advent Carol Service at St Margaret's, Lee on 30th November 2014, and subsequently played after choral Evensong at Chichester Cathedral in May 2015. |
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Chorale Prelude on
'Es spricht der Unweisen Mund wohl' (2017) |
The chorale melody upon which this piece is based is no. 27 in Riemenschneider. The text, by Martin Luther, is based on Psalm 14 (The fool hath said in his heart, There is no God).
The pedal part must be played on a 4' stop (preferably a reed) so that it sounds an octave higher than written. The manual part should be played on a clear 8' stop alone, or a combination (such as 8+4 or 8+2) that lets the pedal cantus firmus be heard distinctly. This piece won the Audience Vote in the Royal College of Organists/Orgelbüchlein Project Competition on 8 July 2017. |
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Chorale Prelude on
'So wünsch ich mir zu guter Letzt' (2018) |
The chorale melody upon which this pieces is based is one of the Chorale Melodies with Figured Bass in Riemenschneider.
The pedal part (cantus firmus) must be played on a 4' stop so that it sounds an octave higher than written. This piece was composed in memory of James Hamilton Brown (1938-2018). |
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Chorale Prelude on
'Wie schön leuchtet der Morgenstern' (2018) |
The pedal part (cantus firmus) must be played on a 4' stop so that it sounds an octave higher than written.
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