List of Works
- The lunar silences, the silent tide lapping... (1973) for flute, clarinet, percussion (4 players), piano and violin
- Hologenesis (1978) for solo clarinet
- At Once (1979) for flute (doubling alto flute), oboe (doubling oboe d'amore & cor anglais), vibraphone and piano
- Snatches (1979) for flute (doubling piccolo & alto flute), oboe (doubling cor anglais), vibraphone, and piano
- Skhistos (1980) for flute, oboe, vibraphone and piano
- The Juniper Tree (1981) for shadow puppet theatre (or animated film) and ensemble
- Helter-Skelter (1981) for flute, vibraphone and piano
- Cut/Dissolve (1984) for solo percussion
- ...from swerve of shore to bend of bay... (1984-85) for alto flute (doubling piccolo), bass clarinet (doubling e-flat clarinet), percussion, piano, viola and cello
- Flow Form (1986-87) for solo piano
- Tidal Volume I (1989) for solo harpsichord
- finnissys fifty (1996) for solo piano
- Little Sunderings (1996) for solo piano
- for piano 1 (1997) for solo piano
- for piano 2 (1997) for solo piano
- for piano 3 (1997) for solo piano
- for piano 4 (1997) for solo piano
- for piano 5 (1998) for solo piano
- for guitar 1 (1998) for solo guitar
- for piano 6 (1999) for solo piano
- for piano 7 (1999) for solo piano
- for piano 8 (1999) for solo piano
- for piano 9 (1999) for solo piano
- for piano 10 (1999) for solo piano
- for piano 11 (1999) for solo piano
- for piano 12 (1999) for solo piano
- invention 1 on the name james dillon (2001) for two vibraphones
- invention 2 on the name james dillon (2001) for solo vibraphone
- Still/s 1 (2002) for solo cello
- Still/s 22 (2002) for clarinet and piano
- Still/s 14 (2003) for solo violin
- for piano 13 (2000-03) for solo piano
- Still/s 2 (2004) for clarinet and cello
- for piano 14 (2004) for solo piano
- Still/s 10 (2004) for flute and piano
- Still/s 3 (2004) for violin and cello
- Piano with violin (2005) for violin and piano
- for piano 15 (2005) for solo piano
Read more about this topic: Richard Emsley
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Went down the list of the dead.
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Carpenters, coal-passers—all.”
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“His character as one of the fathers of the English language would alone make his works important, even those which have little poetical merit. He was as simple as Wordsworth in preferring his homely but vigorous Saxon tongue, when it was neglected by the court, and had not yet attained to the dignity of a literature, and rendered a similar service to his country to that which Dante rendered to Italy.”
—Henry David Thoreau (1817–1862)