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| 1st performed by the Bristol Sinfonia, cond: Sidney Sager, Solo Percussion: Morris Pert, and the Cirencester Percussion Ensemble, Colston Hall, Bristol.Subsequent performance: BBC Radio 3 ‘Music in our Time’.
The 1st piece of British orchestral music to show the influence of Japanese percussion music. Extensive use of Metal Percussion throughout the work.
TAIKO consists of 16 sections arranged in 5 groups and played without a break.TAIKO, a Japanese word, has many meanings. The relevant ones for this work are - large drum, glissandi and various other percussion sounds. The Percussion Ensemble consists of 8 Metal Blocks, 4 Gongs, 5 Metal Plates, 4 Tubular Bells, 4 Cowbells, 4 Handbells, 6 Drums, Metal rods, Pebbles, Maracas, Cymbals, Hand-Flexatones and also Piano and Piano Inside. The Solo Percussion part consists of Drums, Metal blocks, Wind-chimes, Metal rods and a Hand-Flexatone, which plays an important part throughout the work.The Strings and Flutes are often divided and there are many solo lines.TAIKO explores a new sound world, one in which some of the traditional materials of music are reinterpreted. Counterpoint, for one, is enlarged to include Heteraphony and also the counterpoint of "time", i.e. music in different speeds played simultaneously. The work is, by and large, dramatic. Some of the percussion music in TAIKO was drawn on for another work "Multiple" (Metal Music) which was commissioned by BBC Radio (Schools) for the programme "Music Club". |
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| Stabat Mater (1994). 1st performance: The Banstead Music Society,Croydon. Cond. Richard Stangroom wth the City of London String Orchestra.
The Stabat Mater is unashamedly tonal, with whole-tone leanings. It is also openly lyrical. It is written for SATB chorus (without soloists), treble voices (optional) and string orchestra. In addition to the Stabat Mater, a Latin Collect and Gradual, from the Mass of the Seven Sorrows of Mary and a setting of the Ave Verum are incorporated. |
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| - for large orchestra |
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| Newspaper review of first performance (Great Elm Music Festival):. . .although it opened the concert, the major work of the evening has to be the world premiere of Divertimento 2 on a Theme by Purcell by James Patten. Patten, born in 1936, studied music in London and Berlin; he taught at Trinity college of Music, London, where he was Professor of Composition, at Downside, and at Bristol University and Birmingham Conservatiore. He is conductor of Frome Choral union.He is no mean musician; and his Divertimento of ten short variations, played with, dare one say,almost loving care, will be seen as a work of great importance. It is capricious and effervescent; it is meticulously structured, free of any gimmickry; altogether enthralling.I do hope to hear it again: soon. He richly deserved his applause. The combination of the Alberni String Quartet and the English Virtuosi sounded a happy marriage. |
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| Nocturnes Nos 1 & 2 (1992).
Written in Paris. BBC Radio 3 broadcast by Kathron Sturrock (1995) # 1, Dead Slow, Distant, Hesitant. [11min.33 sec.] #2, Slow, Lyrical.[ 3min.10sec.] |
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| Nocturnes Nos 1 & 2 (1992).
Written in Paris. BBC Radio 3 broadcast by Kathron Sturrock (1995) # 1, Dead Slow, Distant, Hesitant. [11min.33 sec.] #2, Slow, Lyrical.[ 3min.10sec.] |
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| Nocturnes 3-5 were commissioned by David James CBE, Chairman of the ESA, for performance by Richard Leigh-Harris at the BMIC, London, on 14th September 2000.
No.3 explores the effect of overtones, produced by striking a low note while holding others silently, on a higher melodic line. And also explores the possibility of sustaining sound without the use of the pedals.
No. 4 is based on two sets of chords made up, for the most part, of fourths, and on two simple sequences. There is but one small moment of drama, towards the end of an otherwise peaceful, unassuming work.
No. 5 summarises, in short, some of the techniques in earlier Nocturnes and has a repeated reference (varied) to a passage in Nocturne No. 1.
" . . . these are wonderful examples of wholly individual piano writing, which are fresh, beautiful, and yet dramatically unpredictable. The keyboard resonates and vibrates, particularly in the third and fifth Nocturnes". Richard Leigh-Harris.
Nocturnes Nos. 1 and 2 were written for Kathron Sturrock and broadcast in a programme of British music and BBC Radio 3.
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| Nocturnes 3-5 were commissioned by David James CBE, Chairman of the ESA, for performance by Richard Leigh-Harris at the BMIC, London, on 14th September 2000.
No.3 explores the effect of overtones, produced by striking a low note while holding others silently, on a higher melodic line. And also explores the possibility of sustaining sound without the use of the pedals.
No. 4 is based on two sets of chords made up, for the most part, of fourths, and on two simple sequences. There is but one small moment of drama, towards the end of an otherwise peaceful, unassuming work.
No. 5 summarises, in short, some of the techniques in earlier Nocturnes and has a repeated reference (varied) to a passage in Nocturne No. 1.
" . . . these are wonderful examples of wholly individual piano writing, which are fresh, beautiful, and yet dramatically unpredictable. The keyboard resonates and vibrates, particularly in the third and fifth Nocturnes". Richard Leigh-Harris.
Nocturnes Nos. 1 and 2 were written for Kathron Sturrock and broadcast in a programme of British music and BBC Radio 3.
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| Nocturnes 3-5 were commissioned by David James CBE, Chairman of the ESA, for performance by Richard Leigh-Harris at the BMIC, London, on 14th September 2000.
No.3 explores the effect of overtones, produced by striking a low note while holding others silently, on a higher melodic line. And also explores the possibility of sustaining sound without the use of the pedals.
No. 4 is based on two sets of chords made up, for the most part, of fourths, and on two simple sequences. There is but one small moment of drama, towards the end of an otherwise peaceful, unassuming work.
No. 5 summarises, in short, some of the techniques in earlier Nocturnes and has a repeated reference (varied) to a passage in Nocturne No. 1.
" . . . these are wonderful examples of wholly individual piano writing, which are fresh, beautiful, and yet dramatically unpredictable. The keyboard resonates and vibrates, particularly in the third and fifth Nocturnes". Richard Leigh-Harris.
Nocturnes Nos. 1 and 2 were written for Kathron Sturrock and broadcast in a programme of British music and BBC Radio 3.
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| Organ Preludes on Hymn Tunes written for Kevin Mayhew Publisher Ltd, (1995-98)
No 2 in D major (Herongate); No 4 in A major ( Morning Light); No 12 in G major (Es ist ein’ Ros’); No 20 in A major (Resurrection); No 23 in D major (Margaret)
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| Organ Preludes on Hymn Tunes written for Kevin Mayhew Publisher Ltd, (1995-98)
No 2 in D major (Herongate); No 4 in A major ( Morning Light); No 12 in G major (Es ist ein’ Ros’); No 20 in A major (Resurrection); No 23 in D major (Margaret)
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| Organ Preludes on Hymn Tunes written for Kevin Mayhew Publisher Ltd, (1995-98)
No 2 in D major (Herongate); No 4 in A major ( Morning Light); No 12 in G major (Es ist ein’ Ros’); No 20 in A major (Resurrection); No 23 in D major (Margaret)
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| Organ Preludes on Hymn Tunes written for Kevin Mayhew Publisher Ltd, (1995-98)
No 2 in D major (Herongate); No 4 in A major ( Morning Light); No 12 in G major (Es ist ein’ Ros’); No 20 in A major (Resurrection); No 23 in D major (Margaret)
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| Organ Preludes on Hymn Tunes written for Kevin Mayhew Publisher Ltd, (1995-98)
No 2 in D major (Herongate); No 4 in A major ( Morning Light); No 12 in G major (Es ist ein’ Ros’); No 20 in A major (Resurrection); No 23 in D major (Margaret)
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| Written and 1st performed in Berlin. Dedicated to Josef Rufer. Cyclical in structure (Nos. 2 and 4 Canons) (1) Slow, (2) Allegretto, (3) Vivace, (4) Allegretto, (5) Slow. First BBC Radio 3 broadcast by Malcolm Binns, 1965 |
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| 1968.
1st concert performance SPNM, London (chairman: Harrison Birtwistle).
There are 12 sections each using a different combination of instruments and exploring one idea - melody, free percussion, static chords, rhythmic canons etc. The sections are grouped to form short movements - I + II + III, break, IV, break, V + VI + VII, break, VIII + IX, break, X + XI + XII. Some of the techniques used in Of An form the basis of the larger work FLUX, commissioned by the Bristol Sinfonia with funds made available by the Arts Council of Great Britain in 1970. Of An was originally written for the BBC TV Omnibus programme 'Portrait of an Architect'. |
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| 1983.
Trio for Flute, Viola and Guitar. BBC Radio 3 broadcast : Judith Hall (flute), Paul Silverthorne (viola), Timothy Walker (guitar).
Extended variations on music written for BBC TV ‘Omnibus’ programme ---“Portrait of an Architect – Eric Lyons”.
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| - In memoriam, Samuel Beckett
Three Solo ‘Cello Pieces, in memoriam Samuel Beckett. BBC broadcast Radio 3 by Chistopher van Kampen. Based on (1) Texts for Nothing # 1 , (2) Not I , (3) Texts for Nothing # 12 by Beckett. |
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