I’m slightly ashamed to say that it wasn’t until the autumn of this year that I realised that 2024 was the 150th anniversary of the birth of one of England’s finest composers. I’m not sure what that says about me, or about the classical music media, or the state of arts and culture in the UK or many other things (I was certainly aware of the same celebrations for Ralph Vaughan Williams two years ago), but nevertheless, I missed it. But I’ve battled through the shame, and I may be a little late to the birthday party but I’m here to celebrate one of the most unusual, thought-provoking, inscrutable and inspirational composers this island has ever produced, Gustav Holst.

After a busy October of performances and recordings so November comes around, which signals endless darkness in this part of Northern Scotland! But there are some moments of brightness in this slow decent to winter, not least some performances and premieres to note. After the recent London premiere of Canticum Mariae Viriginis (2021)  the Marian Consort will perform the work four times on a tour of the USA, giving the US premiere in Cleveland on the 08 November. They follow this with performances in Dayton, Columbus and Haverford in a wonderful programme of Scottish music. On the 13 November, the Belgian choir Lassenne Vocale will give the premiere of my new short new piece for choir and tuned wine glasses, Luman in Umbra (2024) in Brussels.

After a surprising Indian summer in the North East of Scotland, Autumn has arrived in all its wet, gloomy majesty. But hey, Everton appear to have a new owner on the horizon, so it isn’t all bad. October is a busy month of performances and recordings which will see me criss-cross the country for various exciting events. The weekend of the 18-20 includes the London premiere of Canticum Mariae Virginis (2021) at King’s Place from the Marian Consort, a performance of Christus Resurgens (2023) by Caritas at the Holy Sepulchre Church and a performance of the Three Partsongs (2008-12) by the Levens Choir in Carnforth. The following weekend I’ll be in Blackburn Cathedral for a recording of all my organ music on the amazing instrument there by Ed Jones - recording to be released in 2025 on Regent Records.

It’s been lovely to hear of performances taking place around the country and further afield this summer, mainly of organ works, but other pieces here and there as well. I was pleased to attend the Belgian premieres of three pieces in Brussles in early August, where Lassenne Vocale and conductor Ivan Yohan performed Missa Sancti Albanus (2017), Ubi Caritas (2022) and Ave Verum Corpus (2008) at the national cathedral. Looking ahead I’ll be in London in October for the London premiere of Canticum Mariae Virginis (2021) by the Marian Consort at King’s Place, and a CD launch from Caritas the day after. There are other recordings being released in the autumn and I’ll be in Blackburn in late October for a recording of my complete organ works.

As summer slowly appears in the North of Scotland there are a variety of performances taking place across the country and further afield. It begins with a Scottish premiere for my recent Recessional on O lux Beata Trinitas (2024) in Glasgow (02/06) before a first performance of my Agnus Dei (2023) in Stockholm from Gary Graden and the St Jacobs’ Kammarkör (13/06, which I am greatly looking forward to attending). That is followed promptly by the English premiere of my Gloria (2020) by the Thomas Tallis Society Choir under Eamonn Dougan (15/06).

I recently branched out into new and uncharted territory by providing the music for a video by world-leading coffee expert and YouTuber James Hoffmann. The short extract of music for string quartet is called Nenia and was performed by Dahlia Music on the video. If you are interested in me and my music, please do have a look around my lovely website, and do get in touch via the contact page should you want to know more. You can find recordings on all the usual places such as Spotify and Apple Music.

As winter begins its retreat (slower in Northeast Scotland than other places…) there are a few premieres and performances to look forward to this spring. It begins with the first performance of the string orchestra version of Three Meditations (2023) given by the Kammer Philharmonie Europe in Aberdeenshire on the 20 April. The Three Meditations gets a first full performance of the organ version as part of the LFCCM on the 17 May, with Christus Resurgens also featuring in the festival on the 18th.

As January gives way to February, there are various performances and premieres taking place in the UK and further afield. It begins with the long-awaited premiere of To the End of the Age (2019) by the Choir of Robinson College, Cambridge, conducted by Will Sims on the 30 January. The choir will give a second performance on the 11 February and will record the work for Prima Facie in March. On the 03 February baritone Robert Rice (who was the initial soloist in Noah’s Fire in 2015!) and pianist Will Vann will give the first performance of Full Moon (2023), a short setting of Walter De La Mare for York Late Music.

It was always going to be difficult to follow such a wonderful and enriching year as 2022, but in many ways it was just as good (albeit more challenging in various places) with lots of exciting musical events. The year began with a mini-tour of Scotland with pianist Duncan Honeybourne promoting Transfiguration: The Piano Music of Phillip Cooke, which was released in April. In fact, recordings seemed to be the emphasis of the year with new releases featuring pieces of mine from the Marian Consort and others.

Another year, another Christmas blog post! In fact, due to a busy festive period last year I didn’t write one for the first time in twelve years – the outrage on the streets and social media was palpable! Anyhow, this year is much quieter (despite my workplace trying its best to implode…) so I find myself with a little time to put forward some festive musings. And this year is quite interesting for me as these are the first words I’m writing on my next (planned) book project, an hors d'oeuvre if you like for the main course that should arrive in three to four years (not the quickest service in this food-based metaphor). The first dipping of my authorly toe in the biographical water before throwing myself in wholeheartedly in the new year. A try-before-you-buy…you get the picture. Anyhow, I’ve been immersed in the life and music of John Tavener for the past few months, so I thought it only fitting to discuss one of his numerous seasonal pieces and chose God is with us.

The highlight of November is three premieres in Kent, Suffolk and Aberdeen. It begins with longstanding collaborators Caritas Chamber Choir giving the long-awaited premiere of Missa Sancti Albanus (2017) in Hythe, Kent on the 18th. This is followed a day later by Matthew McVey giving the first performance of my recent organ Recessional (2023) in the patronal festival at St Edmundsbury Cathedral. It finishes with Siglo de Oro and the Spinacino Consort giving the premiere of my rustic new Hodie Christus Natus Est (2023) in Aberdeen on the 27th.

October begins a busy Autumn of performances and recordings with the opportunity for me to attend a few things. The weekend of the 7/8 sees Caritas Chamber Choir give two launch concerts for their new recording All Shall Be Amen in London and Kent, featuring my 2022 motet Ubi Caritas. At the same time I will be in Ayrshire for the Cumnock Tryst Festival where the festival chorus and Eamonn Dougan will perform my much-delayed Gloria for baritone, choir, two pianos and two percussion. Whilst at the festival, I’ll be interviewing James MacMillan and poet Michael Symmons Roberts about their creative processes and collaboration.