COMPOSITIONS BY PAUL FISHER
(as at October 2008)
* = recorded by Kevin Bowyer on CD “The Spirit Moves”in
Blackburn Cathedral on 25/26th May 2003
(Dinmore Records, Paul Arden-Taylor:
www.dinmore-records.co.uk)
+ = recorded by Kevin Bowyer on CD “Sounds of Celebration” in Blackburn Cathedral on 2/3 November 2004
(Lammas Records, Lance Andrews:
www.lammas.co.uk)
# = recorded by Kevin Bowyer on CD “ Places and Stories” in Glasgow University Memorial Chapel on 16/17th April 2007
(Priory Records, Neil Collier:
www.priory.org.uk)
MOST OF THESE SCORES AVAILABLE FROM PAUL
ON REQUEST. PRICES VARY FROM £2 - £6.50
FOR FREE SAMPLE SCORES (1st PAGE ONLY)
PLEASE CONTACT PAUL
ORGAN WORKS
#1.The Fire and the Rose. Opus 1:no 1. A suite of 6 short pieces for organ inspired by passages from `The Four Quartets` by T.S.Eliot, with some plainsong references. 1.In the Beginning (g/D key). 2.The Journey - A/B/A (g/shifting tonality). 3.Fire - gradual crescendo on `ostinato` figure(D). 4.Dance - thematic development (a/e). 5.Lament (e). 6.In Paradisum (g). Pub. Editions Chantraine 1996. 20 mins. Moderate difficulty
2. Creator Spirit: A Drama for Organ. Opus 1:no 2. (C/Eb) An extended piece, challenging harmonically and technically, celebrating the presence and activity of the Spirit in creation. It begins `out of silence`, and proceeds to alternate quite static pp passages with fast-moving louder ones, including a `dance of creation` and a demanding pedal solo, which may be simplified at the player`s discretion. The piece ends with a brief toccata-like coda. Pub. Editions Chantraine 1996. 12 mins. Difficult
+3. Noel Nouvelet: 5 Variations on a French Noel. Opus 2. This is the familiar Noel on which Marcel Dupre wrote his set of more extended variations. The theme is first stated in full over a somewhat ambiguous chromatic harmony in the home key of D minor. The variations then vary in mood: a short `straight` canon in the dominant, a slightly ominous pedal `march` variation in F minor, a subdued and reflective slow variation in E minor for flute and celestes, an angular and mildly dissonant one in D alternating between duple and triple time which quickly builds to a big climax and leads to the fifth `tongue-in-cheek` waltz-pastiche finale, also in D major.
7 mins. Moderate difficulty. Revised in part, March 2003
4.Montagne: Into High Places. Opus 3. (E/C) (In memoriam Alison Hargreaves, mountaineer, who died near the summit of K2 in the Himalaya). Structurally this piece falls into six sections - A/B/C/D/A/E - of which D constitutes a slow movement. An extended `programme` piece which suggests the walk into high mountains and the climb to a summit, and celebrates the awesome grandeur and beauty of the mountains. In (the equivalent of) the slow movement use is made of a theme by Herbert Howells for Psalm 121, “I will lift up mine eyes to the hills”: this theme appears again in the pedals during the final toccata-section. 1996. 12 mins. Quite difficult.
+5.Wild Spirits: a Celebration of Creatures. Opus 4. (Wide range of keys). An extended quasi-improvisatory piece in 8 sections - introduction, 6 animal-portraits, and coda - celebrating the life of creation. The portraits are: Cat and Bird (stop-start and skittish), Cat at Night (quiet, slow and spooky), Serpents (whole-tone and slithery), Fishes of the Sea (a bright and watery toccata, but with some darker episodes - “here be dragons“), Vietnamese Pot-bellied Pig (gentle and loving, with quiet grunts in the pedals), and Whale (a surging song of passion, rising to a great climax with trumpet and full organ). This final portrait gives way to a hushed coda - the peace of eternity stretching into infinity, but tinged with deep sadness. 1997. 20 mins. Difficult.
(Also performed by Kevin Bowyer at the Warwick Festival, 1997)
6.Giant Redwoods: Sequoia. Opus 5. A tone-poem evoking the majesty of these beautiful trees, their great height and depth, and the quality of stillness which may be found in their midst. 1997. 6 mins. Moderate difficulty.
#7.“Tintern:Echoes of a Broken Past” (to my brother Anthony).
Opus 6. Sonata in 4 movements. Memories of a visit to the Tintern Abbey ruins in 1996.
Images and impressions of a community that was, the trauma of the community`s dissolution in 1536, and a community that still might be. The life of the river, of people and birds in the ruins, of creation round about, all point towards the greater community which is yet to be. The 4 movements are:
I. The Ebb and the Flow. (C) An ostinato accompaniment figure, heard throughout the movement, evokes the gentle flow of the River Wye and the ebb and flow of time. Fragments of Parry`s hymn-tune “Dear Lord and Father of mankind” weave in and out of the texture.
II. The Bridegroom Comes. (e/a) Allusions to birdsong combine with parts of Tallis` Second Mode setting of “Behold the Bridegroom cometh....but woe to that...servant whom the Master shall surprise...”: this suggests judgement on the unprepared community of Tintern. The movement builds to a great agitated climax before subsiding back to its opening figure.
III. The Judgement. (e/Eb) A statement of the “Dies Irae” plainchant heralds a quiet reflective section, after which a double `fugato` (the ordered structure of the original building) with fragments of the plainchant “Victimae Paschali” evokes the sufferings of the community and the crisis of its destruction. A brief phrase from the Office for the Dead also appears. The movement ends quietly with further reference to the “Dies Irae”.
IV. The Still Small Hope. (e/Eb/C) After a mysterious, ambiguous introduction Herbert Howells` hymn-tune “Michael” (`All my hope on God is founded`) appears, broken into short sections. Who knows what future community might grow from these ruins? Howells was born at Lydney, not far from Tintern. The movement, and the sonata, end with final references to the birdsong and to “Dies Irae”, leading into a coda which re-states the opening `ostinato` figure - “In my end is my beginning”.
1998. 20 mins. Difficult.
(first performed at All Saints` Church, Hertford by Kevin Bowyer, and then first recorded by him as part of the “Five English Abbeys“ CD, Dinmore Records)
*8. Three Voluntaries for Advent and Christmas (to John Scott). Opus 7. 1998-9
Based on hymn/carol melodies.
1. Sleepers Wake 2. Holy Night 3. Adeste Fideles
20 minutes. Moderate difficulty.
9. AFANC: A Legend of Snowdonia (to Gerard Brooks) Opus 8. 1999 - 17 mins
(programmed for performance by Gerard)
A tone-poem telling the story of the water-monster Afanc who is
reputed to inhabit the dark waters of Glaslyn, the small lake under the cliffs of Snowdon.
15 minutes. Difficult. Undergoing extensive revision.
10.*The Coming of Light: an Epiphany Celebration for the Millenium
(with optional percussion) Opus 9. 2000 - 8 mins
A series of variations over a ground-bass, using the hymn melody “Phos Hilaron”, building to a huge climax
11.“St John Came to Langcliffe“: for St John`s Church 150th Anniversary Opus 10. A celebratory dance-like piece.
- 8 mins Moderate
12.*Jingle Bells Jingle: short mainly light-hearted variations for a St Nicholas Day recital Opus 11. 2001
(played by Ian Tracey at the St George`s Hall, Liverpool Children`s
Christmas Concert) - 3-4 mins
(Revised, and slow variation added, March 2003)
13.*Columcille: reflections on St Columba for William West and Christ Church, Derry, in celebration and gratitude Opus 12:no 1
(organ, small choir & narrator). Performed in Derry by William West (organist) on 4 July 2002. 17 mins.
A continuous piece in 5 sections using plainsong and the hymn-tune `Columba`
14.*For Thalia - 3 mins Opus 13:no 1
A short impressionistic piece written for a young amateur organist
in Kingswood, Surrey, when I was Vicar there.
Moderately easy
15.*Paean for a Royal Jubilee Opus 14 2002
(performed by the composer at St Giles Cripplegate, St Giles Organ School Summer Concert, June 2002)
c. 4 minutes. Difficult
A fantasia using jazz-like trumpet fanfares and toccata passages, with slightly subversive quotations of the national Anthem
September 2002
16.`Conditor Alme Siderum`. Opus 15:no 1 Meditation on the plainsong - 2 minutes.
Moderate
17.*Columba Invokes Spirit. Opus 12:no2. A Trio for Organ (using the `Veni Creator` and St Columba hymn melodies) - 1 minute
Moderate difficulty
18.*Divinum Mysterium. Opus 15:no 2. Fantasy on the hymn tune - 5 minutes. Moderate
19.*Reflections on a Name - ANN: for Ann Burgess. Opus 13:no 2
4 minutes. A piece in improvisatory style written for a parish-church
organist whom I met through the IAO.
20.*The White Tiger. Opus 16. Based on a poem by R S Thomas
6+ minutes. Moderate.
A reflection on “the responsibility to awe”, starting and ending in a hushed place with a numinous feel, with a great climax towards the end where I quote the musical phrase “Dieu est immense” from Messiaen`s `5th Meditation on the Trinity` on the pedals ff. The opening phrase from the hymn-tune `Holy, holy, holy` is also twice quoted .
2003
21.*Love Song (for Sue). Opus 17.
(performed by PF at Saltaire URC, as part of a Bradford Organists
composite members` recital) - 2-3 minutes
A short aria in A-B-A form.
Quite easy.
22.*The Minstrels` Gallery (previously “Diversions”). Opus 18.
Variations on a theme, first composed in c.1987, and revised
in March 2003 - 3 minutes. Moderate.
23.+The Colours of Spirit. Opus 19. A suite of short pieces for Trying out a New Organ based on the plainsong `Veni Creator`, for John Hammond of the Bradford Organists association.
November 2003 - 10 and 1/2 minutes. Moderately difficult.
( published by “animus” (Adrian Self) in May 2004)
Ten short variations linked by bridge-passages, each designed to highlight a specific organ colour/register as follows:
1.Introductory flourish 2.`Moorish` style, clarabella & strings 3.Plainsong original on quiet foundations 4.Soft 8`&4` 5.Chorale-variation on diapasons 6.Flute with celestes 7.Mixtures 8.Slow crescendo through the diapason chorus 9.Soft reed, in 5/4
10.Trumpet fanfares against full Swell leading to final `tutti` statement of the theme.
2004
24.Passing Moments. Opus 20. Continuous Sequence of Short Movements for Trying out a New or Unfamiliar Organ
February 2004 - 8 minutes. Moderate.
25.+“BRADFORD”. Opus 21. (for Andrew Teague). A Fantasia with Fugue for the Centenary of Bradford Cathedral organ - played by the composer on Wednesday 16th June 2004 at a lunchtime recital in the cathedral .
10 mins. Difficult.
Combines contrapuntal and chorale-style sections, using the `Bradford` theme spelt musically as `B-B-A-D-F-G-Bb-D`.
26.+“Three Fancies”. Opus 22. For Pedals and Left Hand,
based on themes from “Your Feet`s Too Big” (the Fats Waller jazz song), “Misty”, and “Ilkley Moor Ba`tat” (“A Yorkshire Christmas”)
7 minutes. Quite difficult. `Upbeat` and celebratory in style, although the last piece ends quite darkly, as if to remind us that built into Christmas there is always Good Friday.
2005
#27.“Eireann Notes”. Opus 23:no 1. Seven arrangements of Folk Melodies
from Western Ireland (`in memoriam` Billy West)
August 2005 - 17 minutes. Moderate.
Each piece is written as an original impressionistic composition, intended to evoke the places visited and the people met, using the original folk melodies, which appear in the score.
1.The Burren 2.The Cliffs of Moher 3.Connemara Cradle Song 4.Homes of Donegal 5.Slieve League 6.Errigal Braes 7.The Parting Glass
(published by `animus` music in May 2006)
(27a. Chamber Orchestra version of 3“Eireann” pieces. Opus 23:no 2 2006)
28. Aria: Lament for the Lost. Opus 24.
August 2005 - 2+ minutes
2006
29. “These Things Should not Be...”. Opus 25.
Three Grumpy Pieces for Organ.
Prologue. 1. Clatter and Chatter 2.Topsy-Turvy World 3.It`s All Image. Epilogue.
Dark `protest` pieces with some humour, using in the 3 pieces respectively the hymn-tune for “Be still, for the presence of the Lord”, the chorale-melody “A safe stronghold”, and the plainsong “Dies Irae”
8 minutes. Moderate.
30. “Happy Birthday!”. Opus 26. Chorale and Variations on
`Happy Birthday to You`, for Paul Bowen (Assistant Organist, Bradford Cathedral) on his birthday, December 23rd 2006.
Chorale. 1.Theme in canon 2.Sprightly March 3.Fileuse 4.Trio scherzetto 5.Flute and celestes 6.Carillon 7.Finale Chorale and Coda.
Performed by the dedicatee on 4th July 2007 in Bradford Cathedral
5 mins. Moderately difficult
2007
31. Aria: `Felix olim ego`. Opus 63
Performed by the composer at a lunchtime concert in
Bradford Cathedral, June 2008. 5 minutes. Fairly easy
32. Scherzo (modelled on Durufle). Opus 64.
To be premiered by Paul Bowen, the dedicatee, at his Bradford Cathedral lunchtime recital, 19th November 2008.
6 minutes. Moderately difficult
2008
33. “The Cat of Glory” (Sinfonia Felicinata). Opus 65.
An extended symphony in 4 movements for organ with optional percussion, inspired by an Edward Monkton card of the same title, and dedicated to Kevin Bowyer. Premiered by him on June 2nd 2008 at the Glasgow International Organ Festival.
I. The Making of Creature
II. The Ruthless Machine
III. The Howling
IV. The Splendour Revealed
45 minutes. Difficult
2009
33a. “A Centenary Triptych” Op.70.
Sonata in three movements for the centenary in 2010 of the Bradford Organists` Association. Performance time: 18 minutes. Performance embargoed until after May 15, 2010, when it is to be premiered in Bradford Cathedral. £5
Composers Notes:
'BOA – AD (C)': the opening Chorale states this theme (Bradford Organists` Association, Anno Domini (100)) in the equivalent musical notation of B-G-A-A-D, with the (implied) key of C pervading the movement. This BOA theme is explored and touched upon in all three movements, together with a well-known Yorkshire melody which first appears in the second movement and then dominates the final Toccata-Rondo. The movements (Chorale, Melody, and Toccata) are in C, e and G respectively, thus spanning a triad. The piece is firmly tonal, written in a style which I hope is readily accessible and intelligible.
Organ Transcriptions
34.Closing Adagio from the performing version of
Symphony no.10 by Mahler
(July 2007)
1999
Organ, Brass Quintet and Percussion
35.Falklands Overture. Opus 27. Commissioned for the opening of the newly built Falklands Memorial Chapel, Pangbourne College 1999
(performed by the Band of the Welsh Guards and the composer at the Opening Service, November 1999)
The piece uses plainsong from the Office for the Dead, together with quotations of the Last Post and Reveille, and Argentinian folk melody.
8 mins.
2003
String Quartet
36.“KEMP” Quartet. Opus 28.
A single movement piece for the KEMP concert, to be held in
October 2003 in Kidderminster - 6-7 minutes
March 2003 (not in the end performed through lack of rehearsal time!)
Works for Organ and Flute
+37.For Helen. Opus 29:no 1 In memory of Helen Fletcher who loved the hills.
(performed at her anniversary memorial service by Helen Fisher and PF
in Stockwell, and at St Giles Cripplegate)
(also recorded with Claudia Lachmore, RNCM) - 6 minutes
An improvisatory piece for the daughter of close friends, who died in a riding accident in Snowdonia at the age of 11. The music is intended both as a gentle requiem for Helen and as an evocation of the Snowdonia mountains and a climb to their heights. The musical themes used are `Helen` (B-E-D-E-F), plainsong fro Psalm 121 (“I will lift up mine eyes”), a musical spelling of `y Wyddfa` (Snowdon) , and a fragment from the Office for the Dead.
5-6 mins.
38.“I will lift up mine eyes” . Opus 29:no2. (based on the plainsong for Psalm121) 2003 (and see below under Flute and Piano)
+39.The Shadow of the Sun: A Highland Song. Opus 30. 1997/2003
(recorded with Claudia Lashmore, RNCM) - 8 minutes.
This Highland Song, with a suggestion of bagpipes at the beginning and end, is also the hymn-melody for “Amazing Grace”, and the piece is a free-flowing set of variations, fantasia-like, on the melody. The climax of the piece is a `tutti` statement of the theme, `last verse like`, with double-pedalling. The music concludes with the briefest of references to “Auld Lang Syne” (a melody with similarities to `Amazing Grace`) on the flute, left hanging in the air and losing itself in the glens.....
2002
Works for Organ and Violin
40.Nunc Dimittis. Opus 31. Berceuse, after Jehan Alain, for Organ, Violin and Wordless Voice.
This was suggested by Alain`s beautiful and haunting organ piece “Postlude pour l`Office de Complies”. It uses a Nunc Dimittis plainsong together with references to the chorale melody “Wachet auf”.
4 mins.
2005
Works for Organ and Clarinet
#41.“Name-Play”. Opus 32. Variations on Two Themes
(`PAUL-DAWN` and `WEDDING MARCH`)composed for
Paul Bowen (Assistant Organist at Bradford Cathedral) and his wife Dawn (a gifted clarinettist) and first performed by them in the Cathedral in November 2005 at a lunchtime recital. Dawn is also the soloist in the 2007 Kevin Bowyer (Priory) recording of this piece.
The structure of the piece is as follows:
Prologue, 7 Variations, and Finale (Epilogue)
Variations: 1.Theme with embellishment 2.Chorale 3.A Certain Noise (snores??) 4.Romance (Mahler-like) 5.Dream-Haze (impressionistic) 6.Jig-Dance (Quartet) 7.Jazz-Jive. 12 mins in all.
42. Transcription of The Shadow of the Sun for Clarinet and Organ. Opus 30a.
43. `O Come, Emmanuel`. Opus 33:no 1 An Advent Reflection
(solo, with organ coda). November 2005 3 mins.
Performed at the Bradford Cathedral Advent Carols Ceremony by Dawn and Paul Bowen.
44. `In The Beginning - Alpha to Omega`. Opus 33:no 2 A Further Advent Reflection. Clarinet and Organ.
November 2006 3 mins
Performed at the Bradford cathedral Advent carols Ceremony by Dawn & Paul Bowen.
45. `Will He Come...?`. Opus 33:no 3.
An Advent Reflection. June 2007. 3+ mins
Performed at the Bradford Cathedral Advent Carols Ceremony by Dawn Bowen, November 2007
2009
"Waiting", Op.71.
A piece for the time of Advent, with reflections on 'O Come, O come Emmanuel'. Performance embargoed until 2010. £4
Works for Piano and Flute
46.Catatonic: Impressions of Cats . Opus 34. 2000(revised version)
(sent to Valerie Tryon 2000 - approved) now being further revised, March 2004
47.Prelude after Satie. Opus 35
(performed at the Craven Camerata concert in April 2002 at Hellifield, North Yorkshire). This short piece is the original version of what later became the organ piece “Dance” from the “Fire and the Rose” suite (see above).
48.I Will Lift up Mine Eyes. Opus 29:no 3
(performed also at the above concert)
Choral Works
49.May the Grace. Opus 36. A short Blessing for Unaccompanied 4-part choir 1998
50.Hosanna to the Son of David. Opus 37. A plainsong adaptation for 4-part choir, organ and optional flute 2001
51.Credal Hymn. Opus 38. For 4-part choir and organ 2001
52.Hills of the North. Opus 39. Anthem for 4-part choir, piano and flute 2001
(performed by the Craven Camerata Choir at their concert in Hellifield
on 28th April 2002)
53.Amen: a short setting for unaccompanied 4-part choir 2001
54.Stardust. Opus 40 no. 1. A Carol for 4-part choir, organ and orchestra. Words by Sue Fisher Autumn, 2004
(for Gerard Brooks and the Choir of All Souls, Langham Place)
(performed at their Christmas Carol Concert, 16.12.04)
55.Psalm of Praise, Alleluia and Eucharistic Blessing. Opus 41. Short settings for unison or 4-part choir and piano/organ (written for a `seder` meal, Settle `Churches Together`) 2002
56.Setting for the Eucharist, Common Worship. Opus 42. For 4-part choir (or unison) and organ 2002
57.“The Hand of Heaven”. Opus 43. A Eucharistic Motet for SATB (8-part) choir and organ
(for Andrew Teague and Bradford Cathedral Choir) 2005
58. “Drop, drop, drop Slow Tears”. Opus 44:no 1 An Anthem for 8-part SATB choir and organ 2006 (February)
59. “A Triumph of Delights”. Opus 44:no 2. An anthem for 8-part SATB choir and organ. Text from Thomas Traherne`s “Centuries”
2006 (February)
60. “Holy is the True Light”. Opus 45. An anthem for `a cappella` 8-part SATB choir 2006 (February)
61. “So Elijah Came”. Opus 44:no 3. An anthem for Choir 2006 (March)
62. “The Power of Love”. Opus 46. An anthem for Full Choir, Solo Voices, Organ and Clarinet, with words by Caroline Moore
(12 minutes: July 2006)
63. “Advent“. Opus 45a. Verses for `a cappella` Choir
with organ interludes (words by Frances Ward)
(October 2006)
64. Communion Service. Opus 47. Setting for Congregation (unison) and/or Choir (unison and harmony)
January 2007
65. `Bradford` Magnificat and Nunc Dimittis. Opus 48. For full choir with soprano (Magnificat) and bass (Nunc) soloists.
January 2007
First performed at Bradford Cathedral Evensong on 23rd September 2007
66. “My Beloved Spake”. Opus 49. Anthem for Soprano Solo, Choir and Organ using words from `The Song of Songs`
(version also for soprano solo only, with organ/piano)
January 2007
67. A Dales Song. Opus 50. An anthem for choir with keyboard accompaniment . June 2007
68. Stardust. Opus 40 no. 2. Revised and new version of the original carol.
69. Glory be. Opus 59. Short anthem for choir and organ August 2007
70. So Long Departed. Opus 60. An Advent anthem for 4-part choir and organ September 2007
71. God You`re Misbehavin`. Opus 62 no 1. Contemporary psalm in the style of a spiritual, for Soprano solo, Choir and Organ/Piano
October 2007. Performed by Bradford Cathedral choir at their annual
November concert, 2007
72. Fly High. Opus 62 no 2. Christmas Carol for Choir and Organ
November 2007
73. The Tower. Opus 66. Anthem for choir and Organ. Written to mark the 500th anniversary of building the tower at Bradford Cathedral (1508-2008). Sung by the choir at Evensong, July 2008
75. “Whatsoever Things”. Opus 67. A cappella anthem for full choir. Written for the Bradford Royal School of Church Music annual awards festival at Saltaire U.R.C. on 4th October 2008, where it was sung
2008
"O come let us sing", Op.68.
Short a cappella anthem composed for the RSCM Bradford festival service, October 2009. £3
"Black Light" War Requiem, Op.69.
Large-scale work for Full and Chamber Choirs, Soloists and Organ, using the Latin texts and contemporary poetry. Performance time: 45 minutes. £10
Composers Notes:
To lose someone close to you through an act of inhuman violence, whether in war or otherwise, must be devastating. The experience and consequences of just one such loss are chronic and traumatic for the lives of very many people, beyond the power of words to express. I count myself fortunate never to have suffered in this way. Every single life is unique, precious and irreplaceable, and when this stretches to countless millions down the ages we are surely reduced to silence.
Yet we must stand over against this, and mourn, and still seek to communicate hope. This work is my attempt to do something of that in music and words and silence – to express the inexpressible.
The title “Black Light” reflects the deepest darkness of war and violent conflict together with the search for light and hope. It also refers to the Black Cuillins of Skye, location of MacCrimmon`s Lament; to my own love of the Scottish Highlands; and to the hills and mountains which symbolise our yearning for healing and redemption. The opening notes of MacCrimmon`s Lament, and the musical spelling of `Cuillin` (C-E-A-D-D-A-F) pervade the Requiem.
Two pieces of poetry in the text, `The Katyn Epitaph` and `Black Bear`, are by the late poet-priest David Lockwood whom I was privileged to know as a friend. They appear in a volume of his poetry `The Coming of Age`. I use them by kind permission of his widow Wilhelmina and Three Peaks Press.
There is little consolation in this piece. But just occasionally some shafts of sunlight break through.......
PERFORMANCE TIME: 45 MINUTES
TONALITY
The music revolves around an `a-d-e` tonality. Wherever notes are made sharp or flat (as frequently happens) this applies only to the individual note and its stave. Notes revert to their `natural` state in the next bar unless otherwise indicated.
Piano
76.The Stonecutter. Opus 51. Toccata based on a Chinese proverb 2000
77.BETTY: in memoriam Betty Davis. Opus 52:no 1
(for the KEMP Hospice concert, Kidderminster October 2002)
78. “HELSBELLS”. Opus 52: No 2 for Helen on her 25th birthday
January 2006
79. For Maureen. Opus 52:no 3. For Sister Maureen on the 50th anniversary of her joining the Order of the Faithful Companions of Jesus.
Vocal
80.“Together You Shall Be”. Opus 53. A Song of Marriage
(words adapted from “The Prophet” by Kahlil Gibran)
for Soprano/Alto and Piano/Organ
(January 2005)
(performed at St Cecilia`s Day concert in
Bradford Cathedral, November 2005 by girls of the Cathedral Choir)
81. Three `Earth` Songs for Soprano Voice. Opus 54.
“Earth Waltz”, “Towards the Light”, “Flowers”
(April 2006)
(performed at a lunchtime concert in Bradford Cathedral, 28 June 2006 by Laura Wilson, Emily Chadwick and Laura Fursland)
82. “Like as the Hart”. Opus 55. A setting for Soprano Voice, in jazz style, with piano and clarinet
(Summer 2006)
(performed at St Ceclia`s Day concert in Bradford Cathedral, November 2006, by Emily Chadwick, with Dawn Bowen (clarinet)
83. “Tears“. Opus 56. Setting for Soprano Voices with piano of a poetic text by Lucy Smith, of Maryland USA. (October 2006)
( performed at St Cecilia`s Day concert in Bradford Cathedral, November 2006, by Amelia, Madeleine and Cordelia Teague, Laura Wilson and Laura Fursland)
84. “The Polar Bears` Lament”. Opus 57. A humorous song with verses and refrain.
Words and music by Paul Fisher (Autumn 2006)
85. “Three Spikes”. Opus 58. Settings for voice and organ of three poems by Spike Milligan (June 2007)
I. The Twit: Duet for Soprano and Tenor (for Amelia and Richard)
II. I Cannot Tell You: for solo Soprano (for Emily)
III. The Pope Arose: a unison hymn with descant
Performed in Bradford Cathedral at a summer lunchtime concert
June 2007
Instrumental
86. “Summer is icumen in”. Variations for 5 clarinets. Opus 61.
September 2007
as on October 6th 2008