Catalogue of Past Works
THEATRE MUSIC
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
CHURCH MUSIC
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
DANCE MUSIC
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
VOCAL MUSIC
Amor – an arrangement of Monteverdi’s Lamento della Ninfa from Il Ottavo Libro di Madrigali, 1638, Madrigali guerrieri et amorosi (Book 8, Madrigals 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