Instrumentation: Flute doubles alto flute in G, clarinet doubles bass clarinet in Bb, saxophone plays both alto and tenor saxophones, and piano

Duration: 8:30

Programmatic information: dedicated to the Namaste Ensemble – No Borders Quartet

Programme notes provided by composer:

“Transmutations was written in 2012 and is for flute, clarinet, saxophone and
piano. The wind instruments each double up on another instrument: the
flautist also plays alto flute, the clarinettist also plays bass clarinet and the
saxophonist plays both soprano and alto. In one continuous movement, this
piece lasts around 8 ½ minutes.

The title suggests change, or transmutating, such as the changes that occur
in nature, for example, one chemical element to another, etc. The changes in
this piece are purely musical, there being four main sections framed by bridge
passages, an introduction and a coda. The introductory five bars state the
main melodic idea on the wind instruments, and it is this that is transmutated
throughout the four sections. The first main section is a fast dance in an
irregular rhythm; the second is a slow elegy; the third is a series of cadenzas
for each of the four instruments in turn and the fourth returns to some of the
music from the first, but extending the last few bars into a slow coda, resulting
in a peaceful conclusion.

Transmutations was written at the request of the clarinettist Guido Arbonelli.”

Sheet music can be found here.

Instrumentation: Oboe, Alto saxophone, piano, 2 percussion, double bass (Percussion 1: Marimba, Cabassa, Vibraphone ; Percussion 2: 2 Bongos and 2 congas, Finger Cymba (A5), Ride cymbal)

Duration: 3:00

Programme notes provided by composer:

“Conflicts Shall Pass was written in 2013 and is for an ensemble of oboe, alto
saxophone, piano, 2 percussionists and double bass. It lasts just 3 minutes.
The title suggests that the many conflicts we experience in life will eventually
end in resolution, especially the conflicts of war. The following quote by
‘Abdu’l-Bahá prefaces the score: ‘Strife and conflict will surely be removed
from all the nations of the earth’.

The piece opens in conflict which appears to resolve fairly quickly, however
the apparent peace is disrupted by a further outburst of conflict, ending with a
crash on the piano. The other instruments gradually appear, tentatively at first,
and the work ends in total peace and unity, resolving on a single note.”

Sheet music can be found here.

Instrumentation: Saxophone and piano. Note: soprano, alto and tenor saxophones are required by the saxophonist for this piece.

Duration: 8:45

Programmatic information: In Memorium of Pierre Boulez

Programme notes provided by composer: 

“Written in 2016, Le Maître sans Baton is a duet for saxophone and piano and
lasts 8¾ minutes. Three saxophones are employed, soprano, alto and tenor,
these being played by the same player.

This piece is dedicated to the memory of Pierre Boulez who lived from 26
March 1925 to 5 January 2016. The title is both a reference to his composition
Le Marteau sans Maître and his style of conducting – without a baton, even
when commanding large orchestral forces. The piece is an acknowledgment
of how he brought new music by many of his contemporaries to a wider
audience. It makes no attempt to pastiche his compositional style.
The work has three sections: slow, fast, slow, played without a break. The first
section uses tenor saxophone which plays a lyrical melody over a chordal
accompaniment in the piano, with the exception of one phrase where the main
theme is in the piano. This leads to the second section which employs the
soprano saxophone and is based on a bouncy melody in 9/8 and 6/8 time.
This section finishes with a short cadenza for the saxophone which leads
directly into the final section, for alto saxophone. Here, a development of the
original theme is heard over a chordal and arpeggiated accompaniment. The
work ends calmly in a high register.”

Sheet music can be found here.

Instrumentation: 2 flutes, 2^nd flute doubling piccolo, 2 Oboes, 2 clarinets in Bb, 1 Alto saxophone in Eb, 1 French horn in F, 1 Trumpet in Bb, 1 Trombone (tenor), 1 Tuba, 3 Percussion, 2 African marimba soloists (Soprano and tenor), doubling Treble and Alto Kalimbas, Strings (view score for more information)

Duration: 15:00

Premier information:Our Rainbow Nation for Youth Orchestra. Movements 1 & 3 were performed by the West Coast Youth Orchestra

Programmatic information:

Our Rainbow Nation was written for the West CoastYouth Orchestra in 2016 and is for two African marimba soloists, each doubling kalimbas, and Youth Orchestra, consisting of double woodwinds without bassoons, alto saxophone, French horn, trumpet, trombone, tuba, 3 percussionists and strings. The work is in 3 movements: Allegro e Spiritoso, Adagio and Allegro Molto.
The soloists play marimbas in the outer movements and kalimbas in the central movement.
I consider this to be a ‘trans-cultural’ piece, not only by combining the African solo instruments and Djembes with a Western orchestra, but also percussion from other parts of the world, such as bongos, rain-stick, maracas, cabassa, etc. In addition, the overall style seeks to combine African-style rhythms and melodic fragments in a symphonic setting. By combining and fusing styles in this fashion, I wish to portray how different cultures can live together in harmony.

Sheet music can be found here.

Instrumentation: Saxophone Duet (Player 1 – Alto & soprano; Player 2 – tenor and baritone)

Duration: 8:10

Programme notes provided by composer:

“Written in 2017, Triptych is a duet for two saxophones lasting around 8¼ minutes.

Each player has two saxophones to play: the first plays alto and
soprano whereas the second plays baritone and tenor.

The title refers to the common definition of triptych as referring to a work of art
(usually a panel painting) that is divided into three sections. In the case of a
panel painting, these sections are hinged together. In the case of this duet,
there are three main parts: Allegro, Andante and another Allegro played
without a break.

Much of the music circles around a few notes and the opening Allegro begins
with two notes for alto saxophone and just one for the baritone. Gradually
more notes are added until short thematic material starts to emerge. The
rhythms are mainly irregular, with much of this section being in 7/8 time. The
theme is expanded in a slower central interlude.

The Andante section is for soprano and baritone instruments and again only
two, then three notes are boldly stated. The three notes become an ostinato
and gradually the music moves forward expressively. The rhythms are
generally much simpler, with most of the section being in 3/4 time.

The final Allegro is in a bouncy 6/8 time for soprano and tenor instruments,
with a theme centring around 4 notes, and then gradually expanding. A short
Andante reminds us of the central section and, later, a fragment of the
opening section is stated, before the piece accelerates to an exciting
conclusion.”

Sheet music can be found here.

Instrumentation: Oratorio. Choir, 5 soloists and orchestra, containing important solos for alto and tenor saxophones.

Duration: 1hr, 75 minutes

Programme notes:

Programme notes provided by composer:

This oratorio, written in 2019 and completed in 2020, is for five soloists (soprano, mezzo-soprano, tenor, baritone and bass), mixed choir and orchestra. Its twelve movements are divided into three parts with four movements each. In total, its duration is approximately one hour and forty-five minutes. The oratorio shows the progress of religion from Hindu to Bahá’í. The Bahá’í Faith claims that all true religion is one, so the composer has selected texts to show not only the similarities in the teachings of the major religions, but also to show that religious teaching is progressive, hence ‘progressive revelation’. It is, unfortunately, people of the different Faiths that have caused division through misunderstanding and incorrect or misleading translations. It is the composer’s wish that these texts will bring about greater understanding of religious Faith in general. The major teachers (‘Messengers’ or, more correctly, ‘Manifestations of God’) are represented by a nine-pointed star, one of the symbols of the Bahá’í Faith. The three parts of the oratorio represent three different phases: ‘The Early Years’ (Hindu, Judaism and Zoroastrian); ‘The Age of Enlightenment, Son of Man and the Seal of the Prophets’, (Buddhism, Christianity and Muslim); and ‘A New Universal Cycle – the Cycle of Fulfilment’, as expressed by the three major figures of the Bahá’í Faith (The Báb, Bahá’u’lláh and ‘Abdu’l-Bahá). The composer has supplemented the religious texts with comments and typical questions in which the quotes provide some answers. The major points of focus which show the similarity between the teachings of these religions are: they show that there is only one Creator-God; they all teach about love and they all believe humans move onto another form of life after the physical body has died. By accepting and focussing on these similarities and not on the differences, through a greater understanding, society can begin to evolve a civilisation of peace. This is the promise of ‘The Most Great Peace’ as expressed by the Writings of the Bahá’í Faith. 

Please visit Dedman’s site here for more information on the oratorio.  

Sheet music can be found here.

Instrumentation: Chamber orchestra: 2 flutes, 2^nd doubling piccolo, 2 clarinets in Bb, 2^nd doubling bass clarinet, 1 alto saxophone in Eb, doubling soprano saxophone in Bb, 1 trumpet in Bb, 1 trombone (tenor), 1 tuba, 2 percussion (view score), Timpani (sizes 23’’, 25’’ and 28’’), strings

Duration: 6:45

Programme notes provided by composer:

Comforting the Soul was written in 2020, the original version being for the OSM Camerata, a university student chamber orchestra in Bloemfontein, South Africa. It was written during a lockdown period triggered by the Covid-19 pandemic during the year of composition and it presents a message of hope during this world crisis. It is in two sections, an energetic Moderato expressing the pain and frustration people are going through during the pandemic – in particular how it overtook our lives – followed by a tranquil Adagio expressing comfort and hope for the future of mankind. 

This piece is published in America by Gusthold Music Publishers. 

Sheet music can be found here.

Instrumentation: Clarinet in Bb, 2 flutes, 2 oboes, Bass clarinet in Bb, Alto saxophone in Eb, 2 Bassoons, 2 Horns in F, Timpani 28’’ & 23’’, Percussion (Suspended cymbal (large), Two wooden blocks, Glockenspiel), Piano, Solo clarinet in Bb, Strings. 

Duration: 8:45

Programmatic information:

Programme notes provided by composer:

In 2011, I wrote this piece for the unusual combination of clarinet and organ.

I decided to orchestrate the organ part in 2021 and completed this in 2022. It is called Dialogues as the clarinet solo appears to be in a dialogue with the orchestra.

Lasting 8.75 minutes, the piece is essentially a rondo, the recurring theme featuring harmonies in the orchestra, both straight and arpeggiated, with an interlude of trills and runs between the soloist and saxophone. A dance-like section follows the first statement. There follows a brief statement of the rondo theme, followed by a slow section prior to a development of the rondo theme. The piece ends quietly and peacefully.

Sheet music can be found here.

Instrumentation: Large Orchestra

Duration: 28:00

Programme note from composer: These Fruitless Strifes, a large orchestral work in 5 movements about anti-terrorism

These Fruitless Strifes was written in 2017 and is a major work for large orchestra, lasting nearly 28 minutes. It arose out of the increase in terrorism in this century, in particular, since the attack in New York on 11 September 2001.

The work is highly dramatic and is in 5 movements, as follows:

1. The Conflict; represents the conflict between terrorist organisations and
the general civilian population. Two themes represent terrorists and
civilians and the first becomes more aggressive as the movement
progresses. The climax represents the two towers of the World Trade
Centre being crashed by enemy aircraft.

2. Buried Alive – Under the Rubble; follows on without a break. It
represents the pain of someone trapped under the resulting rubble,
unable to move. Some were lucky enough to be rescued and survived
– even if with serious injuries – this being depicted by this movement.

3. Elegy for the Departed; is a commemoration for the many, particularly
civilians, who did not survive.

4. Lament for the Mourners; reminds us that many family members and
other loved ones are left behind, agonising over what has happened. It
is a choral, starting with dense chords for the brass and moving slowly
downwards, via various wind combinations.

5. Transformation – Spirit of Hope; I would very much like to believe that,
in accordance with some Holy Scriptures, circumstances will improve.
This movement’s main theme is a rhythmic variation on the ‘civilian’
theme in the first movement, with injections of the terrorist’s theme, the
Lament movement and the Elegy, serving as stark reminders of past
events. The movement, however, ends peacefully, with hope for the
future.

Although the work focuses on one major devastating historical event, it can
apply to any similar situation, including outright war. The work is prefaced by
the following quote by ‘Abdu’l-Bahá Abbas Effendi:
We desire but the good of the world and the happiness of the nations —
that all nations should become one in faith and all men as brothers;
that all bonds of affection and unity between the sons of men should be
strengthened; that diversity of religion should cease and differences of
race be annulled — and so it shall be; these fruitless strifes, these
ruinous wars shall pass away and the most great peace shall come. Is
not this that which Christ foretold? “Let not a man glory in this, that he
loves his country; let him rather glory in this, that he loves his kind”.

Click here for sheet music.

Programmatic information:

Programme notes provided by composer:

The Future is in Africa is the second piece I have written for the West Coast

Youth Orchestra. The music is based on a song I wrote for a school choir in

Middelburg, Eastern Cape, called Children of South Africa. The original idea

was to write for strings and percussion, but I since decided to add a flute and

alto saxophone for additional colour. I started this transformation at the end of

2022 and finished it in early 2023.

The percussion section consist of timpani and 4 other players, using two

African marimbas, djembe, tambourine, bongos and congas, wood block and

suspended cymbal.

The title of the piece comes from a quote I found from the Iowa State

University:

“Africa has great potential and could become the next economic frontier.

It is home to some of the world’s current fastest-growing economies;

its population is also expected to grow by 184% and increase to 2.1

billion by 2050.”

The musical style is a fusion of African rhythms and Western Art music. The

3.75 minute duration has a rhythmic vitality, and celebrates the potential that the quote suggests.

Sheet music can be found here.

Duration: 22-23 minutes

Programme notes:

Programme notes provided by composer:

In setting out to write a Piano Concerto, I was aware of the large number of concertos written
for this medium, many of them great masterpieces from Mozart to Bartók and beyond. I had to
ask ‘Can I justify producing another in such a long and distinguished canon?’ I had been
commissioned to write this Concerto by Professor Nancy Lee Harper who has already
recorded my piano solo music, and she suggested that the orchestration could be just strings
or strings with percussion.

This immediately triggered my idea for the concerto, but I added 5 woodwind, including
saxophone, to strings, 3 percussionists, timpani, harp and celesta. I also decided on 4
movements: Maestoso – Con Anima; Allegro; Quasi Scherzo; Semplice and Presto. I feel that

this orchestration and format is a significant departure from the traditional concept. The total
duration of the Concerto is between 22 and 23 minutes.

Although the overall form hints at conventional forms, it deviates from convention in a number
of ways. The first movement starts with a slow introduction, followed by the main movement in
moderate tempo consisting of two themes. This suggests a hint of sonata form, but the two
main themes show some connection with the slow introduction and are continuously varied
and developed, with only a minor recapitulation of some of the material. This movement then
finishes with a varied version of the opening introduction, expressed more grandly.

The second movement is a Scherzo and the strings are omitted throughout. Much of this
movement is a dialogue between percussion and piano with occasional interjections from
woodwind. The main ‘themes’ are thus rhythmic in nature with the piano being treated more
percussively. After a short cadenza for the piano, the woodwind take up the rhythms and
then, with the other instruments, finish the movement with a flourish.

The third movement is slow and marked ‘Semplice’, to be played simply. There is only one
theme, stated at the beginning by violin solo and varied slightly with each repetition. The
piano adds a light accompaniment. The music builds up and the piano majestically adds a
variation of the main theme, with harp and vibraphone, then the strings take over. Piano
tremolos emerge and the woodwind are heard for the first time, with a flute and clarinet
stating a variant of the theme. Quiet string tremolos follow with fragments of the theme
suggested on celesta and piano. After a grand statement on piano, the music subsides, and
then the tenor saxophone states the theme quietly in canon with bass clarinet. The other
woodwind rise to the end, whilst the piano drifts into the background along with celesta and
glockenspiel.

The final movement is predominantly presto, very fast. There are two main subjects with
direct references to the previous movements, each subject being introduced by a piano
cadenza. After a ‘tentative’ introduction, the rhythm of the first subject is taken from the
Scherzo. After this theme is stated by vibraphone, then strings – with scales from the piano –
a subsidiary theme is introduced by the piano, followed by an inversion on woodwind
alternating with piano. The celesta then returns to the main theme, followed by piano. After a
quite interlude suggesting the opening to the first movement, the piano announces the second
main subject as a solo cadenza. This is then treated by strings and other instruments. Next
there comes a duet between harp and celesta with descending chords after which the piano
introduces a repetition of the second part of the first subject. Then the main theme at the start
of this movement is repeated with slightly different orchestration, building to a climax. Here,
the theme of the slow movement is stated grandly which, when it subsides, the coda ensues.
This coda is an orchestration and expansion of the last part of the second piano cadenza and
ends the Concerto, like the Scherzo movement, with a joyful flourish.
The Concerto is subtitled ‘Spirit of Truth’, which comes from a quote from the Gospel
according to John 16: 12-14, where Christ prophesies His return, and this quote prefaces the
score. The music generally expresses the joy of His return and contemplates the sublime
spiritual message that He brings.

Click here for sheet music.