Symphony 25 
Opus 286, Senheim, 2019
Four Movements

Written between Good Friday and Easter Sunday, 2019
Image by Kate Bullock

Symphony 25

Symphony 37 'The Return' Op. 350 
written in Senheim, Germany in April 2024. 

A circular journey, the traveller returns eventually to the starting point but with new perspectives: nothing is the same as it was. 

There are four movements: 
1: The Journey 
2: Distractions 
3: The Stars 
4: The Return

Symphony 37 'The Return' 2: 'Distractions'

String Quartet 37
I have used parts of the melody of "Sumer is icumen in" as thematic material for this three movement String Quartet No. 37: 1. Early Summer: 2. High Summer and 3. Late Summer.

"Sumer is icumen in" translates approximately to "Summer Has Come In" or "Summer Has Arrived." The song was apparently written in the Wessex dialect of Middle English and is one of the earliest English lyrics about the coming of spring and summer, probably composed between 1240 and 1310.

String Quartet 37 'Sumer' 3 Late Summer

String Quartet 37 

I have used parts of the melody of "Sumer is icumen in" as thematic material for this three movement String Quartet No. 37: 1. Early Summer: 2. High Summer and 3. Late Summer.

"Sumer is icumen in" translates approximately to "Summer Has Come In" or "Summer Has Arrived." The song was apparently written in the Wessex dialect of Middle English and is one of the earliest English lyrics about the coming of spring and summer, probably composed between 1240 and 1310.

String Quartet 37 'Sumer' 2 High Summer

With A Singing Heart Opus 353
for String Orchestra

A very special piece for me, written opposite my old home in Fachwen, North Wales. Always the thrill of seeing these beloved mountains again, with elements of Aros Mae, the Welsh National Anthem, the song Beth Yw'r Haf I Mi, my mother's favourite hymn and citations from my 3rd String Quartet 'Fachwen'. The work is dedicated to a place, my home and haven, Sŵn y Llyn. The cover photo was my garden.

With A Singing Heart

Carolina Blue

How To Get Her

Symphony 39 'Dresden' - written immediately after my first visit to Dresden in April - May 2025. Deep feelings of sadness and a sense of universal shame at the continuing destruction of lives and cities in the first movement, the horror of the firestorm and destruction of Dresden in the short, violent second movement, and after shock and dislocation at the opening of the third movement, short evocations in not quite correct baroque and classical musical styles to mirror the reconstruction of the city centre, always with terror as a background presence. A further development of part of the first movement provides a final section, which is deeply sad.

Symphony 39 'Dresden' 2

The first of 12 Nocturnes. 
This wonderful recording was made by Anna Heller and first appeared on Moving Classics TV. 
https://www.youtube.com/watch?v=eXKL-i3cdL4

It is posted here with her kind permission. 
http://movingclassics.tv/about-us/  
https://anna-heller.com

Thoughts about the nocturne: "Nocturne No. 1, written in Luxembourg in June, 1989,
"The first of a set of twelve, this piece is a midnight lament in two parts, the first being relatively static and somewhat nostalgically Russian in style but nevertheless dissonant in places. 
The second part is a repetition, but with much more power and intensity. The very long melodic phrase becomes relentless. 
The music is tonal and clearly based in C minor but with much dissonance and implied bitonality."

Nocturne No. 1  -  Anna Heller

A short meditation for piano on the plainsong 'Ubi Caritas'
This wonderful recording was made by Anna Heller and first appeared on Moving Classics TV. "In this deeply moving piece by Dafydd Bullock, ancient sacred text meets a contemporary musical voice — contemplative, luminous, and full of grace."
https://www.youtube.com/watch?v=l-d-DKqV0vg

It is posted here with her kind permission. 
http://movingclassics.tv/about-us/  
https://anna-heller.com

Anna writes;
Welcome to Echoes of The Monastery, a project born from my deep fascination with the timeless beauty of Gregorian chants. These ancient melodies, rooted in the sacred traditions of the medieval church, have a unique power to transport listeners to a place of stillness, reflection, and transcendence.
In a world that often feels chaotic and fast-paced, Gregorian chants offer a rare opportunity to pause, breathe, and reconnect with something greater than ourselves. Their hauntingly simple yet profound harmonies have the ability to quiet the mind and awaken the soul—a reminder of the enduring power of music to inspire.
For this project, I’ve collaborated with several outstanding composers of today, each of whom has created new original meditative and atmospheric compositions in their own unique style, while drawing inspiration from the spirit of Gregorian chants. These pieces are not recreations of the past, but rather a modern reimagining of the chant’s essence—ethereal, contemplative, and deeply moving.
Through this series, I hope to share not only the beauty of these compositions but also my belief in the importance of bringing Gregorian chants—and the meditative qualities they embody—back into our lives. This is not just a musical journey; it is an invitation to step into a space of White Darkness, where light and shadow meet, and where the echoes of the past resonate with the present.
Join me as we explore the timeless allure of Gregorian chants and their modern re-imaginations. Let these melodies guide you to a place of inner peace and reflection.
Don’t forget to like, comment, and subscribe to stay connected as we release new compositions. Share your thoughts below—what do Gregorian chants mean to you? How do they make you feel?
Thank you for being part of this journey.

#GregorianChants #MeditativeMusic #WhiteDarkness #MovingClassics #AtmosphericMusic #ModernChant #AnnaHellerPianist

Echoes of the Monastery  - Ubi Caritas - Anna Heller

Three Ländler for Clarinet and Harp, written in Austria in the summer of 2022. Short, evocative pieces.

Three Ländler  for Clarinet and Harp 2

Trio for Violin, Cello and Piano (Troika), Opus 17, Luxembourg, 1988

Zdena Pelikánová - violin
Jindřich Ptáček - violoncello
Bronislav Procházka - piano

Recorded at State Opera House, Prague

Written in 1988 and dedicated to Raimund Lang and Joseph Lafleur, who with the composer gave the first performance in Luxembourg the same year, the ‘Troika’ is a short, early work with three movements. The whole is conceived as a ‘homage’ to ‘Russian-ness’ in music, and in particular to the lyricism to Tchaikovsky and Rachmaninov as well as the rhythmic drive of Stravinsky and the folk tradition in general. Echoes of all this abound. The composer returns to the Russian idea again in his Guitar Quintet, Opus 143.


Trio for Violin, Cello and Piano 'Troika' 1

Symphony 25 Opus 286

The beginning offers a tense, syncopated accompaniment figure which persists almost throughout, over which appear broad melodic shapes, tonal yet at times very dissonant. Majestic chords with something of a Tudor feel open the 2nd movement, and from them come extended melodic contrapuntal passages. The alternation continues for some time until a hint of the blues creeps in before the end. The 3rd movement is a scherzo-equivalent, a moto perpetuo contrapuntal dialogue at times eerie, even demonic. Contrast then from a more felicitous trio before the return. Finally movement 4, opening with a gentle, sad introduction after which chords alternate with halter skelter passages before the music ends in a quiet way.

Senheim, Germany 2019, between Good Friday and Easter Sunday

Image by Kate Bullock

Symphony 25: 4

Symphony 25: 3

Symphony 25: 2

Symphony 25 Opus 286

The beginning offers a tense, syncopated accompaniment figure which persists almost throughout, over which appear broad melodic shapes, tonal yet at times very dissonant. Majestic chords with something of a Tudor feel open the 2nd movement, and from them come extended melodic contrapuntal passages. The alternation continues for some time until a hint of the blues creeps in before the end. The 3rd movement is a scherzo-equivalent, a moto perpetuo contrapuntal dialogue at times eerie, even demonic. Contrast then from a more felicitous trio before the return. Finally movement 4, opening with a gentle, sad introduction after which chords alternate with halter skelter passages before the music ends in a quiet way.

Senheim, Germany 2019, between Good Friday and Easter Sunday
Image by Kate Bullock

Symphony 25: 1

Dafydd Bullock was born in  Llanberis, Gwynedd, Cymru (Wales).

A composer, he graduated in Music (University of Manchester and the Royal Northern College of Music, 1971 - 1976) where he studied with George Hadjinikos, and took a Master's Degree in International Relations (University of Sussex, 1981 - 1983). In 1993 and 1994 he won first prizes at the National Eisteddfod of Wales, and in 1995 he was honoured in Wales by admission to the highest Order of the Gorsedd of Bards. He was made a Fellow of the Royal Society of Arts in 2005.

His compositions include 40 symphonies, 19 symphonic poems, 2 operas, 2 Requiems, 2 Mass settings, a Missa Brevis, an oratorio, 40 string quartets, 9 trios and other chamber music and many songs and pieces for piano. He has written scores for 2 films. 

Works have been published in the British Isles by Oriana Publications, Cwmni Gwynn, Curiad and Bardic Edition, in Belgium by Alain Van Kerckhoven Editeur, in the USA and in Luxembourg by Luxembourg Music Publishers, Music Enterprise and Double You. He has made 41 CDs to date, with SAIN (Wales), AVK (Belgium) and LakeSound. His music has been performed and listened to and broadcast in over 140 countries, including Japan, China, USA, Brazil and Colombia as well as widely within Europe.  

Dafydd Bullock has a particular relationship with Prague: his Second Symphony was given its world premiere by Musici de Praga during the 1996 Prague Spring Festival and the Third Symphony, again in Prague, on St. Valentine's Day, 1997. The third and fourth String Quartets were also recorded in Prague (Becher Quartet) as were the complete works for Cello and Piano (Jindrich Ptacek) and five Trios. More recently, Virtuosi di Basso, the twelve solo celli of the Czech Philharmonic Orchestra have recorded and performed music especially written for them. Recently he premiered his Requiem for Jan Palach in Luxembourg and in Prague.

Dafydd Bullock wurde in 1953 in Llanberis, Gwynedd, Cymru (Wales) geboren. Er studierte an der Universität Manchester und am Royal Northern College of Music (Professor George Hadjinikos) von 1971 bis 1976, wo er sein Examen in Musik ablegte. Weiterhin studierte er Politikwissenschaft mit dem Schwerpunkt ‘Internationale Beziehungen’ von 1981 bis 1983 an der Universität Sussex. Dieses Studium schloß er mit der Magister Prüfung ab. Er arbeitet als Komponist. 1993 und 1994 gewann er erste Preise im Fach Komposition an der National Eisteddfod of Wales. Im Jahre 1995 wurde er in Wales durch Verleihung des höchsten Grads der Gorsedd of Bards geehrt und in 2005 wurde er Fellow of the Royal Society of Arts. 

Zu seinen Kompositionen gehören 40 Sinfonien, 19 sinfonische Dichtungen, 2 Opern, 2 Messen, 2 Requiem, 40 Streichquartette, 9 Trios und weitere Kammermusik und viele Klavierwerke. Er hat 2 Filmmusiken komponiert.
Verschiedene Werke werden von Oriana Publications, Bardic Edition, Cwmni Gwynn und Curiad in Großbritannien, von Alain van Kerckhoven Editeur in Belgien, und von  Luxembourg Music Publishers, LakeSound, Music Enterprise und Double You in Luxemburg veröffentlicht. Bis jetzt hat er 41 CDs unter anderen bei den Firmen SAIN (Wales) und AVK (Belgien) und LakeSound gemacht.  Seine Musik wurde in mehr als 140 Ländern gehört, gesendet und aufgeführt einschließlich in Japan, China, USA, Brasilien und Columbien, sowie in Europa.

Symphony 25: 4

Dafydd Bullock

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