1989 Fall Piece (4’)
Chromatic harmonies and changing colours. A piece to mark the autumnal hues of that year as well as the fall of the Berlin Wall.
1997 Mono Lake I & II (5’)
Composed after a visit to the Sierra Nevada, California. This saline lake has a productive eco- system: many migratory birds come to feed on the brine shrimp and brine fly, the pupae of which have always been an important food source for the Kutzadika’a people. That day the sun shone across the strange tufa formations emerging from the still surface.
1997 San Francisco Sketches (8’)
1 The Church on Judah
The first piece describes a long walk down towards the ocean one Sunday morning and overhearing the sounds from a gospel church. The second a kind of barcarolle for an island in the SF bay, sacred to the Indians long before it became an infamous prison island. This piece was originally composed for synthesizers and appears on Mark’s CD “Hollowed Ground”.
1998 Earthbow (5’)
Another piece from the same album. “The moderately bouncy African jive of this piece is as cheerful as Lockett gets. He shares with [Robert] Wyatt the knack of conjuring up a particular English moody atmosphere, like a tango that’s run out of petrol near Stockton-on-Tees…” Clive Bell – The Wire
1998/2012/2016 Ezra’s Waltz I, II & III (about 3’ each)
For our son Ezra, composed on his 0th, 14th, and 18th birthdays
1999 Ode to a darkened cheese-shaped room (5’)
An enduring memory of a hotel of faded grandeur in Toulouse. A strange wedge of a room with high ceiling, windows open onto the Place du Capitole below; the rising heat, the swallows, the street sounds, the late afternoon light fading to dusk.
2000 Neverness (5’)
2003 La Source Miraculeuse (8’)
A piece that plays with the acoustic resonance of a large church, composed for the basilica of Notre Dame de Marceille in Limoux on the pilgrimage route to Santiago de Compostela. The miraculous spring nearby was believed to cure eyesight problems and bears the inscription MILLE MALI SPECIES VIRGO LEVAVIT AQUA (these waters blessed by the Virgin Mary will relieve a thousand illnesses of sight)
2004/2013 Megh/phone (25’)
Originally written for piano and live electronics for Le Son Miré, the annual festival of electroacoustic music in Fabrezan. The version piano solo uses the same Hindustani rainy season raga which drifts in and out of obscurity.
2005 Five Bagatelles for accordion (12')
2006 12 Velvet Suits (5’)
Piano solo version to my homage to Erik Satie, recorded on the CD “Hollowed Ground” with a great acoustic bass guitar solo played by Trevor Lines
2006 The Detachable Waltz (10’)
A simple waltz subjected to a cut-up technique inspired by the poet Jackson Mac Low – re-assembled in 6 different versions.
2005/2007 The Big Haiku (80’)
A slightly ironic title given the length of the work. 17 pieces written on the 17th day of 17 consecutive months, with the object that each is finished on the same day without revision. Between composition and improvisation, an abstract journal of living in the moment.
2011 What is this Cameron-Clegg Alliance? (7’)
A music student in Newcastle wrote a piece for me entitled “Who is this Thatcher, anyway?” in 1982. We have remained friends ever since. This was written for a concert at the Friends’ Meeting House in Brighton on for his 50th birthday.
2011/2012 Winter Leaves (90’)
The many small pieces in 19th century piano literature entitled feuille d’album, albumblatt, or album leaf were intended as gifts to friends, admirers or acquaintances, rather than being destined to a publisher. Winter Leaves cycle of 49 piano pieces, composed one every day over the months of December 2011 and January 2012, each one dedicated to an artist or musician friend.
2012 Objets révolutionnaires 1 – 3 (10’)
The first three pieces in a projected series of 30, based on the French revolutionary calendar, a decimal system of dividing time, created and implemented during the French Revolution from 1793 to 1805 when it was abandoned. The months were divided into three “weeks” or “decades” of 10 days each, named after trees, flowers, fruits and flowers, but every 10th or “décadi” was named after an object or agricultural tool. The pieces are composed on the relevant day.
2013 Fecos (50’)
The folklorique carnival of Limoux, or Fécos, is accompanied every weekend for three months by band of brass players (with snare and bass drum) who play a repertoire of tunes whose diverse origins include operetta, popular songs, classical pieces and Occitan folk tunes. This cycle of virtuoso arrangements, or rather re-compositions, explores seventeen of these tunes.
2014 The 158th Book (2’)
Composed as an introduction to a broadcast reading of Kate A. Hardy’s short story by the same name.
2016 Arbor Low (12’)
Sometimes referred to as the 'Stonehenge of the Peak District', Arbor Low is a Neolithic henge monument atmospherically set amid high moorland. Aspects of the symmetry and geographical situation were used in the musical structure of the piece, which was composed for the 2016 Wirksworth Festival in Derbyshire.
2017 Waltz of the Tree Sprites (6’)
Written for the beginner ballet class of the Carcassonne Conservatoire and their end-of-year show.
2017 Mr Nivla’s Waltz in 4/4 time (6’)
An exercise in 4s against 3s originally composed for accordion, for an artist/film-maker friend Alvin Booth
Score available here
2018 The Eleven Stones of Ndut Lieng Krak (55’)
« Nous avons eu la bonne fortune au cours de notre mission chez les Mnong Gar de découvrir un ensemble de onze grandes lames en pierre taillée. Peu après leur arrivée au Musée de l’Homme, M. A. Schaeffer reconnut en dix d’entre elles des élements de lithophone...Ndut Lieng Krak se trouve en pays montagneux et couvert de forêts, habitat de ces nombreuses tribus proto-indochinoises » George Condominas : Chargé de Recherches à l’Office de la Recherche Scietifique outre-mer 1952
The eleven stones of the title refer to an archaeological discovery in 1952 by French ethnologist Georges Condominas who was on a government mission in central Vietnam. The villagers showed him a set of eleven long sculpted stones. It was confirmed that they were a prehistoric musical instrument. Each stone contains information in terms of the geological memories, floods, earthquakes, and accidents to the stone itself - bursting, hammering, burying, etc. the piano pieces are interspersed with electroacoustic interludes which explore different types of gamelan, Asian percussion, and texts in French and Vietnamese from the artists Christian Hadengue and Tien Lê Thua. This work represents a collaboration for the exhibition "The Infinity of the Mirror" at the French Institute in Hanoi, Vietnam in 2018.
2020-23 The Londonia Suite (20’)
- Street Scene
- The Parkplace
- The Rag-and-bone Rag
- Nettle ale at the Time and Tide
- Parrot’s funeral
- Audio book theme
An evocation of scenes from Kate Hardy’s novel “Londonia”, a dystopian vision of the capital city in 2073. First performed for the launch event in Spitalfields, along with the ambient “Londonia Soundscape”.
2020/21 Spring Flowers (30’)
Continuing the ‘feuille d’album’ idea of Winter Leaves, these pieces are dedicated to musician friends. The first Covid-19 lockdown was marked by an absence of cars and other human activity. Being much more aware of awakening Spring, birdsong and flowers coming into bloom, these pieces celebrate this strange passage of time.
- Grape Hyacinth
- Spotted Deadnettle
- Hoary Rock Rose
- Bastard Balm
- Early Spider Orchid
- Dog-tooth Violet
- Wild Garlic
- The Periwinkle Waltz
- The Nodding Scabious
- Bastard Toadflex
- Rambling Rector
- Snake's Head Fritillary
- Brakish Water Crowfoot
Score excerpt for Rambling Rector available here