a trio for violin played by Ruth, double bass played by Boa and piano played by Bam performed in Boozle Hall.
an orchestral piece featuring solo cello with the usual mish-mash of noises. A mix of darker, practically funereal moments with loud bits thrown in to wake you up. I’ve undoubtedly “quoted” (nicked) ideas from the composers I listen to but with any luck I’ve disguised them well.
… played here by Bam and Ruth. A slow piece, sometimes plaintive, sometimes less so, inspired in part by distant memories of hearing Charlie Chaplin’s soundtracks.
Bam Boozle and the horn swogglers play a simple repeating theme with variations for two pianos, violin and 3 cellos. Bam and Ed on the pianos, Ruth on violin and Boa, Patrick and Art on the cellos.
a piece for two pianos, trumpet, violin, cello, double bass and small violin section. Played here by Bam Boozle and the horn swogglers in a big echoey hall. Bam is playing a basic theme again and again while Ruth, Boa, Art, Patrick and Ed muck about on other instruments (made a small change to the cello part, never liked the original – 23/12/10).
for piano and violin. Click here for a rough score.
a first offering from Bam Boozle and the horn swogglers. A quirky little number, one might say, with piano, accordion, trombone, violin, double bass, glockenspiel and percussion.
yet another attempt at a piece for orchestra, this time for a fairly large ensemble with full strings, trumpets, French horns, solo flute and oboe and some percussion. A bit melodramatic in parts with lighter quirkier sections. Will no doubt have to be edited further at a later date. (NB. two years to the day when I posted my first track.)
a fairly extensive rewrite of a piece I wrote at the end of 2009 (edited early 2011) – here is a short orchestral interlude with lush strings, solo violins, piano and French horn possibly inspired by all the snow around (but maybe not) when I worked on it and dedicated to my parents.
a piece for orchestra with solo piano, violin and oboe with strings and horns. The title came before the piece and I’m not sure whether it played any part in the direction the composition took.