I cannot make claim to this piece. It is by one of my IB students. It is  a really catchy piece modelled on the music of Steve Reich.

Reich In The City

This is my output after completing an online production course with Berklee School of Music.

Dance After Berklee

From the first day using Sibelius 7 on my first PC (a risc Acorn)

From A Small Acorn

A slow, introspective piece rich in cluster chords.

Prelude #2 - Nocturne

A collaborative work after a Halle Orchestra Education project with Copley High School, called Bridging the Gap- 

The Bridgewater Gap

A piece commissioned by Norwich Festival in 1998. Performed by Philip Sheppard and Andrew Shulman and broadcast on BBC Radio3.

Vignette for two cellos

Virtuosic percussion showcase influenced by the  music Sir JamesMacMillan, Alfred Schnittke

Dance Fragments, a concerto for solo percussion and chamber orchestra

Let Me Bring

for SATB double choir. The text comes from the end of Ridley Scott’s 1982 sci-fi movie, Blade Runner. The Nexus brand replicant (artificial life form) suddenly starts to die and immediately before passing, recites this famous monologue: touching words because they are a last utterance, highlights of a live lived. The deadpan delivery of this monologue, minus dramatic visuals and special effects paradoxically intensifies the imagery. To indicate the vast spaces between images, two choirs explore unrelated key centres. As time is universal, and it supersedes life the piece begins at it ends.

New choral works 2017

The Nexus Monologue

Another Lullaby for Insomniacs is a setting of the 2004 poem of the same name by the American poet A.E. Stallings (born 1966). Her work is associated with New Formalism - a late 20th- and early 21st-century movement in American poetry that has promoted a return to metrical and rhymed verse.

In this text, sleep is personified as a cruel temptress who denies you your yearning for peace and slumber. In setting it, I aim to create a mood that is tranquil, dark and somewhat unsettling. The musical ideas are limited but move freely from voice to voice. The melody lines descend slowly and are nursery-rhyme-like in their simplicity. The use of clashes and suspensions create an insidious undertone, and the accompaniment is a blend of cradle-rocking repeated notes and broads pedals. In the final verse a lone Soprano gradually sings out. Whilst this solo soon grows to be the loudest and highest material of the work, it fades just as quickly, to join the remaining music.

Phil Tudor