Each movement of all ten
Organ Symphonies is written in such a way that, although it is symphonic in
construction, it can be successfully played on its own. All these movements
are titled and each one is independent and yet simultaneously related to the
others conceptually. The average duration of a complete Organ Symphony is
approximately thirty minutes.
SYMPHONY NO 1
This piece is a musical self-portrait.
Its theme is derived from my initials. An exciting coda.
Very ethereal in nature.
This takes a fragment of the plainsong Alleluia, set for my birthday , and
subjects it to certain compositional devices. A powerful work.
A musical allegory of time literally flying.
The opening theme goes through a number of transformations to portray a
journey from one state of being to another.
SYMPHONY NO. 2
As the title suggests, this piece is antiphonal in nature with meditative
and joyous passages.
Conjures up idyllic peace and nostalgia with an attractive melody
and rich harmony.
HARMONIES OF PERCEPTION
An introverted but at the same time demonstrative work. Melody
accompanied by exquisite harmonic dissonances.
PAEAN AND FUGUE
A festive and vibrant paean followed by fugal statements of the
theme, with an exciting coda.
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title to download the extract.
SYMPHONY NO. 3
This march is a light-hearted
portrayal of an astronaut floating around the earth.
OUT OF SPACE
The title has two meanings - feeling crowded or in another
A canon with cadences and a crescendo.
The unimaginable voids of space? Very atmospheric.
A cosmic break-dance of grand proportions.
SYMPHONY NO. 4
This symphony is dedicated to the
memory of my mother, Helen Mary Heyes
A celebration of my mother's life.
meanings to this title - looking back at life and beyond time itself. A
The theme is based on the letters
of my mother's name. A sad but compelling piece.
PANACEA Indeed a tonic!
MARANATHA An Aramaic word calling on Christ. The piece takes the form of a
joyous, rhythmical dance, full of activity. Exciting!
SYMPHONY NO. 5
A gradual crescendo of complex harmonic canons.
No. 2 ANDANTE, LENTO
Sensual melodies interspersed with luscious harmonies.
Truly playful with an unusual end.
A tour de force. Chords representing love, hate, life and death are
juxtaposed with brilliant toccata sections. The coda is entitled, 'The March
of Oblivion'. Must be heard.
SYMPHONY NO. 6
RERUM OMNIUM NODUS
This title is a quote from Cicero's writing on the subject of the
Pythagorean/Platonic cosmos and describes the number seven. Literally
translated, 'The Knot of Almost Everything'. What Cicero is alluding to is
'The Key to the Universe'. This piece takes the form of chords and refrains
using a fragment of the first melody that I ever notated.
(Marvellous to Behold)
A jubilant canon and majestic chordal passages adorned with glorious
modulations of key.
In ancient Greece the Pythagorean cult performed music to induce peace
and tranquillity. The work uses the Pythagorean Scale which represents The
Music of the Spheres. Very atmospheric music of stunning beauty.
The essence, real personal subsistence. A delightful piece designed to give
food for thought.
toccata. The opening passage uses the rhythmic intonation from Henry
Purcell's 'Dido's Lament' (Remember Me) in order to celebrate the
tercentenary of the composer's death.
SYMPHONY NO. 7
A montage of captivating melodies joined by exuberant chordal
Slow, ravishing modal melodies, accompanied by contemplative harmonies,
combine to induce a sense of serenity.
A stunning display of syncopated dance rhythms, followed by canons of
soaring intensity. Breath taking!
Written to mark the new millennium. Rapid passages, apocalyptic chords,
arabesques of joy, inventive canons and chorales combine to make a fearsome
proclamation of the 21st century.
SYMPHONY NO. 8
A juxtaposition of fast and slow passages which end with a fugal treatment
of the plainsong subject.
Two melodies, the first with its distinctive character and the second,
distant and mysterious, combine to produce and evocative composition.
The genius of Archimedes seemed to have no bounds. He thought that his
greatest contribution to geometry was his Ratio of a Sphere to a Cylinder
2:3. It is said that he wanted this achievement recorded on his tombstone.
As a tribute, I have incorporated the Ratio in this work. Eclectic music,
both joyous and majestic.
A feast of melodic invention and harmonic colour.
The title is derived from the Greek words terpein (to enjoy) and
choros (dance). After an ascending introduction, ostinato chords
accompanied by canonic augmentation and diminution unite to create a dance.
There then follows a section depicting Whirling Dervishes, succeeded by a
chordal passage. The music then further develops the previous ideas and ends
with a toccata coda.
SYMPHONY NO. 9
Although one always remembers
J S Bach's genius in this form, my work with its 20 variations on this
original theme bears little relation to his passacaglia.
In my manipulation of numerous melodic and harmonic devices I have
endeavoured to create a work of beauty and majesty.
MINUET AND TRIO
A 21st century interpretation of
and 18th century form. The Minuet employs whole tone harmony which is
contrasted by the Trio's simple melodic canons.
An evocation of the
incredible. The vision of an area of instant daylight surrounded by night.
With modal melodies and harmonic reverie it evokes the enigmatic.
MAGIC OF THE MOMENT
This fusion of alluring
melodies and harmonic modulations conjures up a sense of spontaneity,
accompanied by episodes in a more reflective mood.
Greek meaning strength and power.
An impressive array of rhythmic drive, stark harmonies and striking
melodic fragments develop and culminate in an uncompromising show of
splendour and power. A musical portrayal of the different manifestations of
the meaning of Kratos.
SYMPHONY NO. 10
From the Latin meaning Let
Breathtaking toccatas, rapid thematic passages and choral dialogues
combine to produce this transcendent supplication.
This piece opens with its
attractive them in canon with a pedal accompaniment, followed by two
variations. There is then further development of the three variants
concluding on a soft chord of F major.
Sumptuous harmonies accompany slow modal melodies, exotic thematic
material and arcane chord progressions collude in an attempt to reveal the
This title has two meanings.
1. A study on the last and final
2. A study in compositional techniques.
Idiomatically this work is eclectic. The spirit is awoken by a succession
of rhythmic ostinatos, melismatic energy, antiphonal chords and apocryphal
fanfares. An awesome finale to this Tenth Symphony.
SYMPHONY NO. 11
An evocation of the impressive sight of a
forest of mature trees.
Mysterious music with its echo effects, hypnotic theme, contrast of tempo
and dynamics. This is a compelling composition.
YOU SING THE UNKNOWN
Based on a single bird's song which caught my attention
THE RING OF SPRING
A triumphant toccata depicting the vigour and energy of Spring.
SYMPHONY NO. 12
Written to celebrate the 1999 total eclipse
of the sun. The music evokes the powerful, primeval nature of this
HEARD, SEEN AND TOUCHED (YouTube)
A meditation on the First Letter of St
John, chapter 1, verses 1 - 4.
THOUGHT PATTERN NUMBER 1
Light hearted two part melodies and
reflective chord sequences, together create a sense of well-being.
THOUGHT PATTERN NUMBER 2
A hypnotic rhythmic drive evokes overtones
of impending menace.
HIS NAME IS MUSIC
Composed in 2000 to mark the 250th
anniversary of the death of J S Bach. This piece takes the form of a
dance trio concluding in a glorious hymn of joy.
SYMPHONY NO. 13
PARCE DOMINE (YouTube
)(Spare, O Lord)
This work uses a fragment of this Lenten plainsong to mighty effect.
REQUIEM AETERNAM (YouTube)
A slow, mournful melody unfolds
between the right hand and pedal.
HANGING ON THE CROSS (YouTube)
A meditation on the awesome events
leading to the death of Christ.
INTERCESSION NUMBER 1
(Plainsong from the Litany of the
Saints) A choral prelude with the theme in canon.
INTERCESSION NUMBER 2
A powerful interpretation of the
SONG OF THE ANNOINTED
celebration of the Christ figure.
Highly melodious with a gentle,
rocking accompaniment is an apt description of this serenely tranquil music.
A metaphorical inscription in sound.
This two part work could also be described as a musical citation.
Two part canons and exquisite chord
sequences in close harmony embrace the spiritual.
This breath of a soul is sumptuously
rich in harmonic and melodic invention.
This is the last Organ
Symphony that I shall write. I am immensely proud of accomplishing the
mammoth achievement of being the only person ever to have composed and
recorded fifteen Organ Symphonies. Although I have found it a
very rewarding endeavour, sadly it has often been a thankless task.
IMPRESSIONS OF AUSTRALIA (YouTube)
to Australia in 2007 inspired me to write this eclectic music. A
striking melody which emulates the rhythmic intonation of the word Australia
dominates throughout. Together with energetic passages and joyous
chords they celebrate an amazing continent.
memorable melody which permeates the whole work is the result of an idée
fixe that I experienced on numerous occasions.
No. 3 QUONDAM
strident evocation of the past.
BEFORE THE CLOSE
simple melody, together with characteristic harmony, manifests my
penultimate symphonic work.
movement of the last Symphony, a magnificent swansong.