Posts by category
- Category: Collaborative piano
- Category: Composition services
- Category: Education & research
- Education and research
- Category: Anecdotes
- Anecdotes
- Category: Composers anecdotes
- A duet under the bed
- A party piece
- Satie’s day
- Borodin transposing
- Bernstein as a counterpoint student at Harvard
- Satie on La Mer
- Brahm’s introduction in Vienna
- Stravinsky and Charlie Parker
- A dog with musical taste
- A Cantata for Dogs
- Brahms’ reaction to Wagner’s Music
- A subtle way of changing the tempo
- Dreaming of Figaro
- It must be resolved
- A little help with a fugue
- Examination findings
- What Cage couldn’t stand
- To fool, or be fooled, by a name
- Borge on Borodin
- Just a few variations
- Brahm’s first meeting with Schumann
- Liszt meets Beethoven
- Beethoven’s shutters
- A carriage of flowers for Tchaikovsky
- Cure for the common chord
- Sibelius’ punch recipe
- Rossini’s salad recipe
- Rossini and food
- Improvising a fugue
- Growing up in a bell tower
- Gershwin and Ravel
- Mozart the philosopher
- Handel on Purcell
- Handel’s speedy method
- Schubert’s progress
- Oysters and champaign before a concert
- Prokofiev is evicted
- Prokofiev is evicted
- Prokofiev is evicted
- Bruckner the count
- Bach’s wedding
- Schumann as a student
- Hoyt Curtain’s compositional process
- Schumann chasing a girl
- Richter on Bach
- Brahms’ birthday
- Sondheim’s pass times
- Tchaikovsky at Cambridge
- Beethoven and the spider
- Beethoven’s handwriting
- A Beethoven fan
- A play for dogs
- Haydn’s audition
- How to win over an orchestra
- Water music
- Music with no boundaries
- Elgar’s football team
- Elgar’s distractions
- Frank Churchill in production meetings
- Beethoven distracted
- A note about Chopin
- Mozart’s daily schedule
- Origins of the name Beethoven
- A new overture – fast
- One way to get a doctorate
- Category: Instruments
- Liszt on the piano
- Hough and Schnabel on piano rolls
- ‘Real’ instruments in popular music
- Dance of the Sugar-Plum Fairy
- The Jankó Keyboard
- The tone of the piano at the turn of the nineteenth century
- After music from a bridge, why not a tower?
- Some curious devices
- A mystery instrument created
- A $1.2 million piano
- The human voice
- How piano wires have changed throughout history
- Shaw on the cello
- Violoncello piccolo
- Bach’s preferred instrument
- Beethoven’s piano
- A musical use for trash
- That’s a wrap
- Instrumental stereotypes
- The Brainy Baboon
- Mozart’s piano returns to his home
- A replacement conductor
- Warmed pianos
- The piano as furniture
- The art of whistling
- Category: Interesting facts
- An experiment in the colours of keys
- You can’t own the tuning
- Teddy Bear’s Picnic
- Early music discovered on carving
- Bacharach’s teachers
- Brian Wilson to complete Gershwin songs
- Beethoven in code
- Tin Pan Alley
- Theme from The Office
- The development of concert life in London
- Beethoven’s letter
- Musical taste in England in 1925
- The origin of the interval
- The first soundtrack: Snow White
- Category: Performers and performances
- Imogen Cooper on a lesson with Alfred Brendel
- A typical recital in England in 1897
- Mahler’s bowing instructions
- Karajan and direction
- “Didn’t you like it?”
- Arthur Rubinstein’s youthful practice habits
- A young Josef Hoffmann
- Paderewski, the dandy
- Vladimir Horowitz on encores
- Claudio Arrau in Newcastle
- The art of playing the triangle
- It’s the page turner’s fault
- The London Proms in the 1930s
- This music is too hard
- How to get an audience
- Gramophone: no substitute for live performance
- The price of an encore
- A bewitched recording
- Conditions stipulated for the Imperial Court Chapel
- The ghost of Paganini
- As good as Paderewsky
- Loyalty to a lead
- Gershwin’s playing (and sense of humour)
- Gershwin conducting
- George Gershwin at the piano
- Beethoven and the candlesitcks
- A simple request
- To be a good player
- Pierrot Lunairre
- Stokowski playing Bach on the organ
- A very specific error indeed
- Don’t wish me luck
- Here’s a pencil … and an eraser
- Where to curse the orchestra
- Baroque they are not
- Who needs four strings anyway?
- People must hear me
- Just as we checked the tuning …
- Two hands or one
- Streisland’s instinct
- Concentrate on the performance
- The silent bass clarinet
- Stokowski’s orders
- Rehearsal conditions must be suitable
- Climbing Mount Fuji with a cello in hand
- How not to get an audience
- Musicians in Dresden in 1720s
- Maiky’s recording of Bach’s cello suites
- Beethoven’s contest
- Brahms’ ladies choir
- The state of opera: 1720s
- A matter of tempo
- Beethoven’s duet
- Autumn Leaves
- A concise rehearsal
- Debussy’s reception in England
- Practising at every opportunity
- Stokowski on contemporary music
- Mozart improvising
- What a difference an audience makes
- In the event of a lack of singers
- Stokowski and singers
- Word of mouth encore
- Dress regulations for Handel’s Messiah
- Advice to opera performers
- Mozart’s magic ring
- Page turning for Beethoven
- Beethoven conducting
- Not just a one hit wonder … but there was an audience favorite
- Conducting gloves
- A monkey on his shoulder
- Paper and matches for maintenance
- A little ahead … or a little behind
- Category: Personalities of the musicians
- Rachmaninoff as a young student
- A lesson with Beethoven
- The mannerisms of Pachmann
- Horowitz’s stringent requirements
- Horowitz’s practice regime
- Matheson and Handel’s duel
- Handel’s dinner for three
- A lock of Beethoven’s hair
- Composing in the bath
- A courteous conductor
- There’s one way to get him to play
- Waste not, want not
- Widmann on Brahms
- Dividing the concert takings
- Comfort in the score of Saul
- Artificial by nature
- George and Ira Gershwin preview Porgy and Bess
- Beethoven and food
- Sight singing with Handel
- What about me?
- Gershwin’s romantic side
- Gershwin: the life at the party
- Rachmaninoff scares me
- A noisy neighbour
- Not up to form, because …
- Tchaikovsky as a teacher
- Puccini’s hangout
- It’s my apartment and I’ll play if I want to
- Rachmaninoff the examiner
- Too much pedal
- A motorboat experience
- A mushroom anyone?
- Tchaikovsky and mushroom collecting
- Tchaikovsky and the village children
- Bunking down in the Philharmonic
- Szymanowski’s dogs
- Ravel’s fashion sense
- First class regardless
- Brahms’ stingy side
- Out of practice
- Rachmaninoff’s concert routine
- Ravel and food
- Mozart’s Pranks
- A little poem by Mozart
- Learn my name
- Stokowski’s rehearsal
- I am Beethoven
- Beethoven in 1821
- Hammerstein’s card games
- Brahms at the tavern
- Accustomed to being ignored
- Stanford on Tchaikovsky
- Brahms’ pranks
- Brahms’ harmonic exercise
- Debussy’s recreational activities
- The advantages of having a manager
- The personality of George Gershwin
- Puccini’s rain machine
- Brahms’ post-concert adventure
- Beethoven as a boy
- Beethoven’s prank
- Category: Articles and papers
- Category: Crosswords
- Category: Program notes
- Maurice Ravel: Menuet sur le dom d’Haydn; Menuet Antique; Pavane pour une infante défunte; Sonatine
- Franz Schubert: Six Moments Musicaux (Musical Moments), op.94
- Dmitri Shostakovich: Piano Trio No. 2, Op. 67
- Eugène Ysaÿe: Violin Sonata No. 4
- Claude Debussy: Rêverie
- Claude Debussy: Suite Bergamasque
- Franz Joseph Haydn: Piano Trio (Hob. XV, No. 25) “Gypsy Trio”
- Anton Arensky: Trio in D minor for violin, cello, and piano (op. 32)
- Frédéric Chopin: Nocturnes
- Johann Sebastian Bach: Sonata for violin and obbligato keyboard in A major (BWV 1015)
- Jean Sibelius: Bagatelles (op. 97)
- Category: Quotations
- Quotes
- Category: Audience reception
- Category: Composers quotes
- Joe Hisaishi on the score of The Boy and the Heron
- Debussy on impressionism
- Ravel on Debussy
- Ravel on Satie
- Rachmaninoff on modernity versus his musical style
- Debussy on Chopin
- Schumann on Chopin’s style
- Tchaikovsky on Arensky
- Music: the product of feeling and knowledge
- Brahms on Schubert
- Hans Zimmer on the musical experience
- Hans Zimmer on writing pop songs
- The importance of melody
- Debussy improvising
- The artist’s soul
- Music in the very heart of noise
- Saint-Saëns on composing
- Saint-Saëns on the art of music
- The meaning of American Pie
- Jan Lisiecki on Chopin
- Einstein on Mozart
- Saint-Saens on Bach and Mozart
- Tchaikovsky on Don Giovanni
- I am not highbrow
- Capturing the pulse of the time
- Music is a mysterious form of mathematics
- Music acting as a spirit resonance
- You cannot hope for substance
- Fightened of ideas
- Bernstein’s response to violence
- Writing music is easier than words
- A specialized skill set
- Inner-most feelings can be expressed in music
- The effect of Tchaikovsky’s music on his patroness
- Finding the voice of Piazzolla
- The forgotten aspect of music
- A hundred violins may play softer than one
- Underrated and overrated composers
- Adding quality music to the world
- Understanding the world
- Music is richer than words
- Waste no note
- Liberation from formalism
- Life is green
- Hogarth on Chopin
- Mozart’s masterpieces
- Why Israel still shuts Wagner out
- Bernstein’s Workroom
- Mozart and Beethoven
- Ravel’s fine attributes as a composer
- Szymanowski on Ravel
- Sondheim on the language of music
- Mozart on Clementi
- I do not choose my listeners
- Music is for me to play
- Reincken on Bach’s playing
- Bach’s reputation
- Paul Simon on music today
- Bruckner’s dog
- A tribute to Beethoven
- Sondheim on expression
- Tchaikovsky’s output
- Music of the people
- Reich on modernism and tonality
- Reich on the accessibility of his music
- The tragedy of music
- Proportion
- The construction of music
- Delius on the role of music
- Vaughan Williams’ preparation of Hymns Ancient and Modern
- Glinka’s compositional priorities
- Liszt on Beethoven
- The effects of Brahms’ music
- Copland on film music
- The importance of good texts
- Gillparzer’s tribute to Beethoven
- Category: General
- Uniqueness
- Weeds
- Look under your feet
- Each day, according to Goethe
- The land knows of its own beauty
- There’s a crack in everything
- They who dream
- Einstein as a musician
- Understanding the rules
- Wisdom is perishable
- Knowledge represents inner strength
- The importance of rejuvenation
- Trust yourself
- Figaro and an egg
- Philosophy
- Personality
- The significance of the individual
- Hope
- Determination not to be hurried
- Success is a staircase
- The here and now
- Patience
- Harmony
- Be a work of art
- Individuality
- The best of every man
- Men of genius
- A result of education
- The prerequisites of a genius
- Happiness
- Growth by dreams
- Opportunities
- It is who you are
- Mastery
- The decentralization (or de-hallification) of classical music
- Learning
- The greatest applause
- The making of heroes and cowards
- A successful day
- Music and identity
- The health benefits of tuning a piano
- NAXOS and the recording industry
- The value of education
- The work of the individual
- The illiterate of the future
- Quiet minds
- Loneliness versus solitude
- The current state of the recording industry
- Bugs Bunny can save classical music
- Skepticism
- Knowledge of truth
- LA no longer the center for film scoring
- Category: Performance practice
- Rachmaninoff and phrasing
- Ruth Slenczynska’s advice on musical lines
- Debussy on Metronome markings
- Debussy on pedalling in Chopin
- Pavel Kolesnikov on historical instruments
- Rafal Blechacz on interpretation
- Form your own interpretation
- The ideal and the played performance
- Performance anxiety
- Technique is not music
- A new take on the harpsichord sound
- The art of pedalling
- An artist’s job is not for small talk
- Context and beauty
- Berlioz on editorial license
- It’s two-four … It’s three-four
- A democratic orchestra
- Mattheson on the courante
- When precision isn’t enough
- Leif Ove Andsnes on Beethoven
- Vaughan Williams on an authentic performance of Bach
- The musical memory
- The logic of opera in English
- The piano, as distinct from the harp
- Mozart on rubato in adagios
- The development of keyboard technique
- Category: Performers
- Julius Asal on interpretation
- Julius Asal on pairing Scriabin with Scarlatti
- Julius Asal on the exploring darker emotions
- Rachmaninoff practising slowly
- On Artur Schnable’s playing
- Saint-Saëns defending virtuosity
- Rachmaninoff on the culminating point in performance
- The role of an interpreter
- Start from scratch every time
- Pieces to belong to performers
- Music better than it can be performed
- Never use a score
- Practice slowly
- Jan Lisiecki on interpretation
- A performance can be greater than them
- A good performance
- Schnabel on recording
- Bernstein on immersive performance
- Difficult music is the easiest to play
- Born for music
- Rachmaninoff on interpretation
- Schiff on Schumann
- Seeking challenges
- Perahia on Beethoven
- Hoffman on technique
- The musician’s quest
- Half a sonata
- Any room for me?
- The orchestra as a symbol of unity
- Love your music
- Stokowski as a sound engineer
- A conductor’s hair style
- Ringo Starr
- Pavarotti
- Part of the bigger picture
- Stokowski’s rehearsal process
- Stokowski rebukes
- Stokowski’s first rehearsal with the Philadelphia Orchestra
- Review of Pablo Casals
- Give music to those who love it
- Richter on small concerts
- Up close and personal with Glenn Gould
- Dee-da-dee-da-dee-da-splat
- The juggling jazz musician
- Bringing classical music to the people
- The soloist will get his way
- Everything affects music making
- Golden rules for an orchestra
- Popular classical music is great too
- The life of a pianist
- The technique of conducting
- Applause
- Music and time
- Hilary Hahn on technique, practise mentality, and performance
- Nikolaj Zainder performs Elgar’s Violin Concerto on the original violin
- Hilary Hahn on the “story” behind the music
- Liszt’s account of a performance by Chopin
- Piotr Anderszewski on interpretation
- Glenn Gould on recording
- Ashkenazy on Richter
- The importance of reading
- The delicate nature of Chopin’s pianism
- Chopin’s pianistic style
- Many an Orpheus and Arions make up a Bach
- Remembering J. S. Bach
- Arthur Schnabel
- Category: Purpose of the arts
- To burn with desire
- Convey to others what we are
- Musicians’ response to violence
- A poet is a nightingale
- Art is a crucial, dangerous operation
- How we decorate space and time
- Arthur Schopenhauer on music
- The benefits of musical instruments
- Why we read
- Dostoyevsky on beauty
- Without music
- Capturing the experience of being alive
- The essence of music
- The two faces of an art work
- The Poet and the Muse
- The Anecdote to Distraction is Art
- Practising an art
- Art constructs, not deconstructs
- Ode to Music and Moonlight
- Greatness
- The potential of music to spread peace
- Arnold on culture
- The purpose of the theater
- Menken on the the strength of music
- The role of the arts in society
- What we play
- Art is meant to be uplifting
- What is an artist?
- The musician’s role: maintain our trust in the world
- The cleansing power of music
- On thinking
- Our modernized world needs music
- Two paths for the future of classical music
- First we make music
- The sole purpose of art is infinite
- Art and the strength of the former times
- It is imperative to learn music
- Beethoven on music
- Music is the real life
- The influence of music
- Rachmaninoff on music
- Nietzche on Art
- The musician’s contribution to the world
- Tears in art
- Imagination disposes and creates
- Art and humanity
- Shostakovich on music
- The soul and speech
- The spice of music
- The art of listening
- Real genius
- No art is equal to music
- Joyous art
- Music education helps to encourage empathy
- Life experience
- The weird people
- The power of music
- Emerging from suffering
- Valley of shadows
- Culture is our fuel
- Abstract art
- Entertaining to educate
- The voice of life
- From the heart
- The two faces of art
- Vassily Primakov on the role of the arts
- Inspiration
- The most powerful drugs
- Structure and disharmony
- Environmental soundscapes
- The code of honor in great art
- The political function of music
- Heard but not seen
- Beethoven our artistic brother
- Luther on music
- Teaching in Kabul
- Art cannot change events. But it can change people.
- Pablo Casals’ obligation
- The nature of music
- Communication with the audience
- Music is a moral law
- Category: Style
- Rorem’s affinity with French music
- Murray Perahia
- Smooth jazz finds new way to reach audiences
- The framework of a symphony
- It must be worth the effort
- Against Gregorian
- I write for all ears
- Mozart on aesthetics
- Mattheson on the allemande
- Mozart on melody
- Eighteenth century aesthetics
- American Western Film Soundtracks
- Parry on choral music
- Ravel’s influence on Vaughan Williams
- The shelf life of popular art
- Vaughan Williams on sense of musical citizenship
- George Gershwin on American music
- The evolution of the jazz tradition
- Copland on the integration of jazz into art music
- Mozart’s musical aesthetics
- In critique, then in praise of Bach
- Category: Symbolism
- Category: Teaching methods and education
- Rachmaninoff and colour
- Searching for expression
- The creative learning process
- Knowledge and Wisdom
- The role of schooling
- Study music profoundly
- Chopin and touch
- Schoenberg’s composition class
- The purpose of education
- Encouraging talent
- Can you teach resourcefulness
- A great teacher
- Vaughan Williams on Hubert Parry
- Jazz apprenticeships
- The status of classical music in Australia
- The fire of knowledge
- Bach’s method of keyboard teaching
- Category: The creative process
- Habit is stronger than willpower or inspiration
- Trombone Shorty on writer’s block
- Language at its most powerful
- Tchaikovsky’s compositional process
- Nick Cave on the creative process
- Bernstein on composing
- Art is an immense forest
- Nick Cave on the creative process
- What is imagination?
- New art and the old formulae
- Positive change through creativity
- The career of a musician compared to other arts
- Obedience and liberty in creativity
- Feed the inner beast
- The double life of an artist
- Waiting for inspiration
- Write over improvise
- Shedding light on what is invisible
- The healing power of creativity
- The source of inspiration
- Whatever we are faced with, people will continue to create
- You don’t need permission to create
- An artist’s personal growth
- Put creativity into everything
- Achieving great things
- Chopin and counterpoint
- Busoni on invention
- The reach of art
- Relationship with the muse
- A pen and a hen
- Creative people produce being
- The worker and his object
- Art isn’t your pet
- The creative urge
- A hunch
- The necessity of the serial method
- Artists and originality
- The excitement of all possibilities
- The cycle of masterpieces
- We can’t all play first violin
- Discovery
- Technology and the future of music
- The limits of imagination
- Following the crowd
- The effort is better than rest
- A man’s money
- Ravel’s compositional process
- Start with one note
- Bernstein’s television appearances
- The musical mosaic
- Misprints remain
- Art to be virtuous
- Guiding concepts of artistic creation
- Britten on composing
- The progress of an artist
- Is it worth writing?
- Transformation of art
- The essential part of creativity
- A musician’s canvas
- Problem solving with creativity
- George Sand on Chopin’s compositional process
- Escaping the every day world
- Nino Rota on happiness and music
- Harmann on orchestration
- Goldsmith on film scoring
- The pros and cons of imagination
- Brahms on inspiration
- An artist can change his perspective
- Accomplishing great things
- How caffeine can cramp creativity
- Mood lighting to boost creativity
- Freedom for music
- Bacall on imagination
- Playing with fantasy
- Salvation by imagination
- Content of art
- The inner drama of man
- Beauty
- The subject of art
- Learn the rules like a pro
- Doing what I can’t do
- The art within
- Application of talent
- The experience of composition
- Spontaneity and art
- Anxiety
- Imagination plus innovation
- Evolving recordings
- Self expression
- Creativity
- A task no longer
- Old into new
- Empty pockets
- The potential of an artist
- Simon on improvisation
- Tips for composers
- I dream …
- Creativity between now and Tuesday
- Motion and art
- The creative person
- Feeling a bond with your instrument
- The possibilities of creativity
- The addictive nature of song writing
- The importance of music in pantomime
- An author’s perogative to be critical
- The path of an artist
- Imagination
- Beethoven’s compositional process
- The artist should not be shabbily treated
- Work joyfully and peacefully
- The true success of the journey
- World order
- Einstein on creativity
- The effect of audience reception on Stravinsky’s compositional process
- Stravinsky on composition
- Category: The experience of art
- The inexpressible depth of music
- The line and the harmony
- The need for books
- What an artist can do for another
- Appreciating beauty
- Beauty captivates the flesh
- Music as an emotional science
- Active listening
- Silence, expression, and music
- A world of emotions
- Music which never leaves
- Diderot on good music
- Fresh ideas of building arts communities
- Music stirred him
- Beyond the comfort zone
- The best music
- Feel creates thought
- Music as a means of common meditation
- Form and content
- It is cruel that music should be so beautiful
- The cleansing power of music
- Communicating one’s dreams
- A musical solution
- Music and health
- Bad effects of music
- The effect of art
- The experience of beauty
- Category: Work ethic
- Tchaikovsky’s Work Ethic
- Quantity of practice
- Mozart: the myth versus the man
- Focus
- Don’t loaf and invite inspiration
- Encouraging progress
- Recipe for success
- Talent is best used
- Try, try, try
- There is no failure
- It’s not hard work
- The value of preparation
- Be a dreamer
- True greatness
- Aim above the mark
- Go for long walks
- A practice regime
- That which precedes success
- A man is not a failure until …
- Baudelaire on inspiration
- Art and patience
- Silence, slowness, clarity, reinvigorate
- Do everything promptly
- Work so that you don’t have to work
- Steps
- The length of a rehearsal
- Mozart on Craft
- Preparation
- Energy from work
- Moving mountains
- Richard Bach on perseverance
- The beginning and the end
- Knowing is not enough
- Perseverance
- Inspiration exists
- The power of enthusiasm
- Man’s capacity
- Working hard for music
- Success
- Rising after we fall
- The potential of man
- Focus on solutions
- It is best to do it well
- Believe in Luck
- Attaining great heights
- What drives the wise
- Achieving your aims
- Category: Works
- Pavel Kolesnikov on the Goldberg Variations
- First impressions of Schindler’s List
- Harbouring doves and crocodiles
- Stravinsky on Verdi’s Rigoletto
- Playing by the mood of the audience
- Part of Your World
- Transforming Bach’s Cantatas into an opera
- Older version of Molly Malone discovered
- An insight into the “Happy Birthday” tune
- The James Bond theme
- A “small” concerto
- My tempo must be followed
- The background to Bolero
- Memory
- Somewhere Over the Rainbow
- O Danny Boy
- Britten on The Rake’s Progress
- Wagner’s observations on the English and oratorios
- Mack the Knife
- It’s Oh So Quiet
- White Christmas
- Kreutzer’s Wanderlieder and Schubert
- I need a better razor
- Composing for elephants
- Accessibility for kids
- James Levine on Tchaikovsky’s Eugene Onegin
- Boyd Neel on Vaughan William’s Fantasia on a Theme of Thomas Tallis
- Malcolm Sargent on Vaughan Williams’ Sixth Symphony
- Elgar on his Violin Concerto
- Category: The Harmonic Palatte: Explorations in Musical Style
- Category: Indexes
- Crosswords
- Ashman’s directions for “Something There”
- Handel and the soprano
- I live in a world of my imagination
- The Harmonic Palette: Exploration of Music Style
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- Category: Scores and recordings
- Category: Recordings
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- Category: Brass
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- Category: Piano
- Love Letter (The Boys in the Boat)
- The Great Collapse (The Boy and the Heron)
- Sanctuary (The Boy and the Heron)
- Master of the Tomb (The Boy and the Heron)
- Ask Me Why (Evacuation) (The Boy and the Heron)
- Memories (The Boy and the Heron)
- Abstraction XVII
- Widerstehe doch der Sünde (J. S. Bach)
- Abstraction XVIII
- Meditation II
- A Child is Born in Bethlehem
- The Adventurer
- Abstraction I
- Abstraction II
- Abstraction VIII
- Abstraction X
- Columbine’s Veil
- Meditation I
- Abstraction XIV
- Rustic Dance
- Abstraction XIII
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- Beauty Around Us
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- Abstraction XII
- Sleepy Bear
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- Elegie I
- Ode I
- Big Business
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- Mighty Like a Moose
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- Love Came Down At Christmas (piano)
- Prayer of Thanksgiving to the Trinity
- Category: Piano method
- Tally Ho!
- Beauty Around Us
- Piper’s Tale
- Lullaby for Ben
- The Ruffled Knights
- The King’s Entrance
- Through a Looking Glass
- Tales from the Carreck of Fergus McGee
- Smooth Sailing
- Skye Boat Song
- Reverie II
- Musing by Moonlight
- Minuet I
- Miniature I
- Merlin the Wizard
- Feeling Fine
- Bright Sunny Day
- Blue Flemingo
- Barcarolle
- Air IV
- Air III
- Air II
- Air I
- Lullaby for Edward
- Lullaby for Berkeley
- Category: Sacred
- Oration XIV (St. Gregory the Theologian)
- Alleluia! Sing to Jesus (Hyfrydol) – SATB, brass, and organ
- Mass of Solidarity
- Wexford Carol (SATB and organ)
- Wexford Carol (SATB and piano)
- Unless the Lord has built the house – Psalm 126 (127)
- Silent Steps – Rabindranath Tagore
- My Shepherd is the Living Lord/I Know That My Redeemer Lives
- Beauty Around Us – Bernhard Severin Ingemann
- A Light Rises in the Darkness – Psalm 111 (112)
- Be With Me, Lord, When I Am In Trouble (Setting II) – Psalm 90 (91)
- Blessed the People the Lord has Chosen (Setting II) – Psalm 32 (33)
- Blessed Are They Who Hope in the Lord (Setting II) – Psalm 1
- Easter Prayer – St. Gregory the Great
- Cry Out With Joy and Gladness – Isaiah 12
- Blessed Are They Who Dwell In Your House – Psalm 83 (84)
- All the Ends of the Earth – Psalm 97 (98)
- Bless the Lord, My Soul – Psalm 103 (104)
- Fill Us With Your Love, O Lord – Psalm 89 (90)
- Forever I will Sing the Goodness of the Lord – Psalm 88 (89)
- Give Thanks to the Lord – Psalm 105 (106)
- Glory and Praise For Ever – Dan 3
- Go Out to All the World – Psalm 116 (117)
- God Mounts His Throne (setting ii) – Psalm 46 (47)
- Here I Am, Lord – Psalm 39 (40)
- I am the Lord your God – Psalm 80 (81)
- I Shall Live in the House of the Lord – Psalm 22 (23)
- I Turn to You, Lord, in Times of Trouble – Psalm 30 (31)
- I Will Praise You, Lord – Psalm 29 (30)
- I Will Praise Your Name Forever – Psalm 114 (115)
- I Will Sing Of Your Salvation – Psalm 70 (71)
- I Will Walk in the Presence of the Lord – Psalm 115 (116b), Psalm 114 (116a)
- In the Sight of the Angels I will Sing your Praises – Psalm 137 (138)
- Let My Tongue Be Silenced – Psalm 136 (137)
- Peace Is What I Leave You – John 14
- On the Day I Called for Help – Psalm 137 (138)
- O Lord, Our God, How Wonderful Your Name – Psalm 8
- My God, My God, Why Have You Abandoned Me? – Psalm 21 (22)
- Love Came Down At Christmas (Rossetti)
- Lord, You Are Good and Forgiving (Setting II) – Psalm 85 (86)
- Lord,When Your Glory Appears (Setting II) – Psalm 16 (17)
- Lord, Send Our Your Spirit – Psalm 103 (104)
- Lord, Make Us Turn To You – Psalm 79 (80)
- Lord, Let Your Mercy Be On Us – Psalm 32 (33)
- Lord, I Love Your Commands – Psalm 118 (119)
- May the Peace of Christ Reign in your Hearts – Col. 3
- Prayer of Thanksgiving to the Trinity
- Taste and See the Goodness of the Lord – Psalm 33 (34)
- Teach Me Your Ways, O Lord – Psalm 24 (25)
- The Just Will Live in the Presence of the Lord (Setting II) – Psalm 14 (15)
- The Lord Comes to Rule the Earth With Justice – Psalm 97 (98)
- The Lord Gave The Bread – Psalm 77 (78)
- The Lord Has Done Great Things For Us -Psalm 125 (126). SATB, woodwind, brass, and organ
- The Lord Has Done Great Things For Us – Psalm 125 (126)
- The Lord Has Revealed To All Nations His Saving Power (Setting ii) – Psalm 97 (98)
- The Lord Hears the Cry of the Poor – Psalm 32 (33)
- The Lord is Kind and Merciful – Psalm 102 (103)
- The Lord is my Light (Setting II) – Psalm 26 (27)
- The Lord is my Shepherd – Psalm 22 (23)
- The Lord Upholds My Life – Psalm 53 (54)
- The Lord will Bless his People with Peace (Setting II) – Psalm 28 (29)
- The Precepts of the Lord give Joy to my Heart – Psalm 18 (19)
- The Queen Stands at Your Right Hand (piano)
- The Queen Stands at Your Right Hand – Psalm 64 (65)
- The Seed That Falls On Good Ground – Psalm 64 (65)
- The Vineyard of the Lord is the House of Israel – Psalm 79 (80)
- Turn to the Lord in your Need (Setting II) – Psalm 68 (69)
- Who is the King of Glory – Psalm 23 (24)
- You Are A Priest For Ever (Setting II) – Psalm 109 (110)
- You Have Been Our Refuge – Psalm 89 (90)
- Your Ways, O Lord, are Love and Truth – Psalm 24 (25)
- Your Words, Lord, are Spirit and Life – Psalm 18 (19)
- Lord, Every Nation on Earth will Adore You (setting ii) – Psalm 71 (72)
- Lord, Heal My Soul – Psalm 40 (41)
- Let the Lord Enter – Psalm 123 (124)
- Category: Sacred
- Category: Strings
- Category: Cello and piano
- Fantasia on Ding Dong Merrily on High
- Ganymed (Schubert)
- Wie melodien zieht es mir (Brahms)
- Forgive (Tchaikovsky)
- The Stars Looked Tenderly Upon Us (Tchaikovsky)
- A Tear Hangs There (Tchaikovsky)
- In Memory of Those in Paradise
- Abstraction IV
- Abstraction V
- Abstraction VI
- Abstraction VII
- Daydream
- Elegie II
- Quasi Dance II
- The Blue Danube (Strauss)
- Sleeping Beauty Waltz (Tchaikovsky)
- A Swan (Ein Schwan) (Grieg)
- Leave Me Alone (Lasst mich allein) (Dvorak)
- Intermezzo, op. 118, no. 2 (Brahms)
- Dance of the Knights (Prokofiev)
- Category: String ensemble
- Category: Cello and piano
- Category: Vocal and choral
- Category: Woodwind
- Category: Transcription