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Bird of Time


<p>
for upper voices, SATB, and piano or chamber ensemble 
This vibrant nine-movement work unites upper- and mixed-voice choirs in a multi-faceted exploration of colour. A richly scored instrumental accompaniment, which may alternatively be performed by piano, helps to characterize each colour within the over-arching narrative of the value of your own self-expression.</p>


The Rainbow

Songbird

In the Silence of the Night

Sing we now of Christmas

Elements in the Gothic


<p>
Music plays an essential role in Gothic in the years 1789-1820, but it signifies very differently at the end of the period compared with the beginning. In the 1790s, the music of Gothic novels and plays is not Gothic music; it is celebratory, calming or transcendent rather than scary. By 1820, the music of Gothic is more likely to provoke shock, discomfort and unease. Melodrama brings about this change. Its ascendancy had long-lasting effects on the music of the Gothic more generally - in fiction and poetry, on the stage and the screen. The book considers work by writers including Ann Radcliffe, Matthew Lewis, Eliza Fenwick, Samuel Taylor Coleridge and James Boaden in conjunction with music by composers such as Michael Kelly, Stephen Storace and Samuel Arnold. Audio files of the music accompany the book.</p>


The Music of the Gothic 1789–1820

Alleluia! A new work is come on hand

Routledge Library Editions: Medieval Culture, Society, & Religion

An Anthology of Hymns and Lyrics

Medieval Song

Adam lay ybounden

Voice Junction

Wanderlust

Three songs on the power of listening and connection with original Hindi texts by Reena Bhansali

S&unāō

In the deep

Oxford Three-part Repertoire

The Pasture

Bird of Time

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