Catalogue of Past Works


Reconstruction and composition of the missing third of Thomas Campion’s The Lord Hayes’ Masque 
for Solo SATB Choir, 3 x SATB Choruses and Renaissance Ensemble: Cornetti, Sackbuts, Baroque Triple Harp, Harpsichord, Violins, Theorbo and Bass Viol 
at the Convocation House, Bodleian Library and Castle Ashby for Oxford University Early Music Society, History Alive and Sotheby’s New York  

Incidental music and songs for the Restoration Comedy: The Innocent Mistress 
for the Guildhall School of Music and Drama, Drama Department, Dir. Derek Martinus  

Incidental music for Romeo and Juliet for Creation Theatre Company, Dir. Sebastian Doggart   

Incidental music for Markurell at the Chelsea Theatre, Dir. Derek Martinus 

Incidental music for Lady Chatterley’s Lover  
for Benedict Productions with Patrick Mower, Irena Brook and Kate Gielgud  
at the Palace Theatre Manchester, Leeds Playhouse, Hull New Theatre, Theatre Royal Brighton,   
Dir. Roger Smith


Magnificat and Nunc Dimittis for the Choir of Magdalen College, Oxford  
to celebrate 20 Years of Women at the College in the Year 2000 
First woman to compose for the Choir in 550 years

Ordination Music for St. Andrew’s Cathedral, Inverness


Ariel – a ballet – a setting of Sylvia Plath’s poem Ariel   
for Soprano, Flute, Clarinet in Bb, Violin, Violoncello, Double-Bass & Vibraphone  
for the London Contemporary Dance School  
Awarded: the Lutoslawski Prize 1996: 2nd Prize at the Guildhall School of Music and Drama 


Amor – an arrangement of Monteverdi’s Lamento della Ninfa from Il Ottavo Libro di Madrigali, 1638, Madrigali guerrieri et amorosi (Book 8Madrigals of War and Love) 
for Soprano Solo, 2 Tenors, Bass, Soprano Saxophone Obbligato and Organ

Chamber Music – settings of poems from James Joyce’s Chamber Music (1907): 
       III. At That Hour  
    XIV. My Dove 
XXXIV. Sleep Now  

for Countertenor/Alto and Ten-Course Renaissance Lute in G 
for Christ Church, Spitalfields, the Spitalfields Music Festival 

Three Epigrams – settings of three Epigrams by Emily Dickinson  
for Soprano and Piano
1. Wild Nights
2. Much Madness
3. The Heart

How do I Love Thee – a setting of Elizabeth Barrett Browning’s poem How Do I Love Thee
for Soprano Solo, Soprano Saxophone Obbligato, String Quartet and Organ

Methought I saw my late espousèd saint – a setting of John Milton’s sonnet 
for Soprano and String Quartet 
for the Philomel Ensemble, Magdalen College, Oxford