A setting of a poem by Robert Frost for piano and choir.  

Stopping By Trees

Prior to 1998, my music had a very vertical feel to it.  I had read a few books on counterpoint, which should have made my music linear, but to no avail.  Then my father sent me a small RSM book on species counterpoint.  It was like a fog lifting.  The first pieces I composed on reading this were settings of two poems called "Song" by William Blake.  This is the first, from 1998.  Set for soprano and piano, it was performed by a tenor and piano, which worked equally well.  

Blake, "Song"

In about 1999 I read Vincent Persichetti's treatise, "Twentieth Century Harmony."  Much of it want straight over my head, especially as my own music has a distinct harmonic background.  However, it did open my eyes to harmonic systems other than tertian.  I have been especially taken with quartal harmonies.  This song is based on quartal chords.   

A Song Without Words

Sometimes just the view from the window is inspiration enough.  Dedicated to Jacqui, of course.  

The Birds

La Fuite De Lune

A Boundless Moment

An early exercise in counterpoint, from about circa 2000.

Les Silhouettes

A Ragtime For Jacqui

In the Central Range

In The Central Range

On Chert Hill

I am entirely self-taught as a composer.  Born in Yorkshire, I moved to the West Indies for work several decades ago, but nowadays spend my summers in the inspiring landscape of Nova Scotia.  I always wanted to compose music, but practicalities (lack of music at school being one) led ne down a different career path.  Nowadays I compose when in need of mentally-taxing fun.

Brent Wilson 15