I am a composer, pianist and play vibraphone. Since 2000 I have taught music privately in West London. Before that, I subsidised my musical activities by freelance computer programming.

My musical development was in the 1950s and 60s and various strands of modernism influenced me. However I played for a while in jazz and rock bands, wrote for them and still write in what may be thought of as a lighter style in some pieces. I have usually written when there is a chance of performance, for colleagues, calls for scores and occasional commissions. Some pieces have been played by a number of different performers; a few are still awaiting performance.

Full details and links to audio samples at https://derekfostermusic.wordpress.com .

Sample works:

Intermediary (1984) Flute, clarinet, violin, cello, piano, guitar, percussion. 13 mins.
Workshop performance by Elsinore Ensemble/Karl Aage Rasmussen, Glasgow University, Sept 1984, (Musica Nova Festival/SPNM)
Concert performances by Morley Musica Viva/Michael Graubart and Nomos/Paul Webster

18 Sections (1988) Small orchestra (2.2.0.0/2.0.0.0/Pno./Strs). 7 mins.

Tributes Suite (1992) String orchestra. 7 mins.
Performed by Enfield String Players/Amanda Denley 2003. Published by Modus Music.

Three Duos (2002/05/08) Vibraphone, piano. 8 mins.
I have performed these on vibraphone with Anthony Green (pno.), nos. 2 and 3 with Deborah Edwards (pno) and played piano in nos. 1 and 2 with Oli Mayne (vibraphone).

Elegy (2003) for wind quintet. Video

Variations on a Theme by Anthony Green (2010) for organ , first performed in an LCF concert by William Whitehead, and subsequently by Tom Bell at the Oundle Festival, Birmingham Cathedral and in Denmark.

Three Movements (1984) String quartet.
Regency Ensemble, London, October 2010. Sample (movt 2):

Old Street (2016) for flute, clarinet and horn. Video

Cedric began writing music in his teens and continued composing in such spare time as he could find during four decades working in commercial management and consultancy. Largely self-taught, the first public performances of his music began in 2002, since when he has had pieces performed in London, St Albans, Brighton, Portsmouth and Colchester. Works performed to date include music for voice, piano, organ, choir, orchestra, wind band, percussion ensemble, electronics and various chamber groups. In 2012, he led a team that presented four multi-media concerts across London as part of the Cultural Olympiad. In 2014, his Prelude – Red Riding Hood won the new composition award hosted by the annual Waterlooville Music Festival. In 2015, he collaborated with four other composers to present Songcircle, a concert of song settings and solo piano pieces in aid of Macmillan Cancer Support. The concert featured the première of his setting of On Moonlit Heath from A E Housman’s A Shropshire Lad which is included in the list of selected works below.

My link list:
http://www.scoreexchange.com/profiles/cedricpeachey

Sample works:

Adagio Lamentoso – In Memoriam September 11th 2001 – for string orchestra  
Buffie’s Waltz – for alto saxophone and piano  
Evening Light – for solo piano  
Fugal Fantasia – for clarinet septet  
Henry V – opening music for the play  
Let My Prayer – motet for choir and organ, performed by Forum Cantata and William Whitehead  
Prelude to “Red Riding Hood” – for full orchestra  
Trois Griffonages – for string quartet. Berceuse played by 4th Dimension String Quartet:

https://www.forumcomposers.org.uk.caracal.mythic-beasts.com/wp-content/uploads/2021/11/Peachey_TroisGriffonages-Berceuse.mp3

etc

Videos:

On Moonlit Heath – performed by Felicity Hayward (soprano) and Catherine Herriott (piano)
Prelude & March – performed by Lambeth Wind Orchestra
Les Baratineurs– for flute, clarinet and bassoon performed by the London Myriad Ensemble.
Two Pastoral Moods – for wind quintet performed by the London Myriad Ensemble.

Michael James Regan (b. 1947) studied at the Guildhall School of Music & Drama. His teachers included Peter Wishart, Buxton Orr, Dennis Dance and Patric Standford. He later taught theory and composition at the London College of Music until 1997. In addition to composing, Michael is currently very active as a teacher in private practice.

Recent performances of compositions by Michael Regan have been given by Anna Bell [flute], The London Myriad Ensemble, The London Contemporary Chamber Orchestra, Janet Oates [voice], The Konvalia Quartet, Total Brass, Sharon Moloney [flute] & Catherine Herriott [piano], Opal Flutes, Derek Foster [vibraphone & piano], Felicity Hayward [mezzo-soprano], The Regency Ensemble and the Marsyas Trio.

Michael’s flute piece Harmattan from Desert Winds [pub. by Emerson Edition] is in the current ABRSM woodwind syllabus [flute, grade 4].

A large selection of works is available on scoreexchange.com , sheetmusicplus.com and a sample of work may be listened to on soundcloud.com .

Visit michaeljregan.com for more information.

Sample works:

Desert Winds – flute & piano, published by Emerson Edition. Sample : played by Sharon Moloney and Catherine Herriott
A Paul Klee Suite – jazz quartet + optional flute
Japanese Folksongs – flute, guitar, bass and percussion
Changes – Three pieces using permutation techniques – piano solo
Celtic Suite – flute & piano
October Music – flute & piano
Fragments (from the Greek) – flute & harp with optional antique cymbals
Water Music – for electric piano (or piano)
The Cat & the Moon, incidental music to Yeats’ play – flute, guitar, percussion and voice (Sprechstimme).
The Garden of the Hesperides – flute & vibraphone
Summer Song – violin (or flute) & piano
Three Jazz Miniatures – flute, oboe, clarinet and bassoon Video

Also 20 Essays – In and Around Music (published on-line by GRIN Publishing)

David Arditti was born in Bournemouth in 1964, and now lives in NW London. He first concentrated on science, and only took up music seriously from the age of 18, when he started to sing in choral and opera groups, learn the piano, and work out how music worked for himself. Later he studied, part-time, piano with Peter Bithell, composing with Paul Webster and others, and conducting.

He has written most possible types of music including piano, orchestral, chamber, wind and brass band, though songs and choral music have been his greatest preoccupation, in line with his experience as a singer and choral conductor, and reflecting also his love of poetry. He has also written music for film.

His signature style is a clear and direct tonal idiom, with major influences from the core classics, the English romantic tradition, folk music, east European and Jewish music and 20th century minimalism. His music has been performed in the UK, USA and Israel, and some is published. He is also known as an amateur astronomer and writer on astronomy.

David’s web site:
http://www.davidarditti.co.uk

Sample works:

Chamber Music (Op. 20) Song-cycle for tenor and string quartet, words by Joyce (20 songs)
Down Wessex Way (Op. 29) Song-cycle for baritone and Piano to words by Thomas Hardy (9 songs)
Three Bird-Songs (Op. 33) for voice and piano. Sample: Ben Cooper (tenor), Martin Jones (piano)
String Quartet No. 2 in G minor (Op. 31)
Introduction and allegro brillante (Op. 41) for flute, oboe and piano
Fantasia on a West-country Tune (Op. 36) for brass quartet
Fantasia on a West-country Tune (Op. 36) arranged for wind quintet Video
Time and Tide (Op. 37) March for wind band
Sonatina (Op. 40) for wind ensemble
Comic Overture (Op. 6) (2122, 222, timp, perc, strings)
Concertino (Op 32) for clarinet or soprano saxophone and chamber orchestra (2111, 2, strings)
Requiem (Op. 5) for choir, soloists and orchestra
Mass in C (Op. 12) for choir, soloists and orchestra
Four Poems by Sir Philip Sidney (Op. 26) SATTB unaccompanied
Eclipse! music for a video by Robin Scagell for the Society for Popular Astronomy

I first started to play the piano at aged 5 and had regular piano lessons for many years. I had a classical music upbringing, my mother was a ballet dancer and my father is very fond of classical music. As time went on after experimenting with producing different sounds on the piano from an early age I discovered that I could copy recorded music that I heard from the radio including pop music on to the piano and even create my first own composition at age 12 which I called The Band.

It wasn’t until I became an adult that I realised my full potential as a pianist and composer by introducing variations and arrangements to well-known popular classical music with experimentation and improvisation to create compositions. I became a member of London Piano Circle and Forum London Composers Group and have run for many years a special improvisation group using two pianos called Pianos Plus.

Composers who have most influenced my style of playing include Beethoven, Schubert, Mozart, Satie, Enuldi, Jarrett, Finnissy, Skempton and Cashian to name but a few! I am fascinated with all types of classical music and that includes piano playing style up to the present including ultra-contemporary and even reggae which I can produce on the piano! This is also reflected in my experimental music where I use very avant-garde methods of producing sound using the whole range of the piano keyboard (atonal).

From time to time I find myself playing in restaurants, cafés and am always looking for new pastures and challenges involving solo performances especially background in the public arena.

In 2012 I composed and performed themes for the Cultural Olympiad project in conjunction with Cool Fusion under the auspices of the London Composers Forum.

I am currently supporting the newly-formed LSO Create Orchestra as composer/pianist performing new compositions in the Barbican foyer and Barbican main concert platform at the Rites of Passage concert 2014 with the Create Orchestra.

My link list:
http://www.myspace.com/markpampelpiano
http://raspberryblue.com/clients/coolfusion/
http://lso.co.uk/lso-discovery/community/lso-create

Sample works:

Sample improvisation: played by Mark Pampel

Alan Hilton is mainly self-taught, since retiring from a non-musical career in 2000, notwithstanding a year of learning by correspondence from the Open College of the Arts, and some hours with a visiting tutor. He has some 100 original works (including rearrangements), mainly for small ensembles up to octet, but also including a March (more of a ramble) for brass band, an Overture for orchestra and three works for chamber orchestra, with some piano, organ and vocal/choral works. A selection from these can be found on his SoundCloud page (see below). They employ familiar tonal procedures, based on singable melodies, and were written to appeal to a wide range of listeners and/or performers. In 2008 Alan presented a concert of some of them for wind and string players from the Amadeus Orchestra plus brother and granddaughter. Other performances have been heard at LCF concerts.

Alan’s link list:
https://soundcloud.com/uxor-1

Sample works:

Serenade for Horn & String Quintet
Exuberant Overture
Humoresque, for Clarinet & Piano
Saxofun Duos
Wedding Processional No. 1

I’ve composed music since childhood, but became Head of Music in Comprehensive schools, and more recently downsized to Junior schools, where I still run recorder orchestra and organise events and concerts.
I enjoy writing music for choir, orchestra, symphonic wind band, brass band, and ensembles large and small, and chamber music for a variety of instrumental combinations. Over 60 works, ranging from duets to large wind band, are published by Egge-Verlag, Forton, and Studio. I’ve also written 9 books, including one on world music for Cambridge University Press.
Much of my wind music is used for courses and Summer schools, and I’ve been composer-in-residence for Leipzig Bassoon Festival twice, and for a course in southern France five times. My music is used at Dartington Summer School, and by English Brass Academy, with whom I’ve been to Croatia twice. I’ve also written for Dorset Chamber Orchestra for the last ten years.
I particularly enjoy creating musical stories, in which hundreds of children perform songs, recorder and percussion pieces with an adult orchestra. My aim as a composer is to carry on writing works which people enjoy performing.
More information, pictures, and a list of (almost all) my works can be found on my website:

My link list:
http://www.lizsharmamusic.co.uk

Sample works:

Trialogue No. 3 for flute oboe and bassoon. Video

I was born in 1948 and have been composing since early childhood. In fact I had more success as a boy composer than for most of my adult life! From 1957 to 1962 I belonged to the Children’s Opera Group (London) for whom I composed three stage works, which they performed with some success. The first of these, Susan’s Birthday, won a “Young Composers” prize adjudicated by Benjamin Britten, which provided my 15 minutes of fame rather early in life. The second, Mr Postwhistle, was performed five times and even got me a broadcast interview on Norwegian radio. Since then, things have been distinctly quieter.

I read Music at Oxford University, graduating in 1970 – my tutors included Bernard Rose and Egon Wellesz. I engaged in postgraduate research but never completed my Doctorate. In those years I had a number of pieces performed by the Contemporary Music Club – my performers including some now famous names – Colin Lawson, Nigel Osborne and Gregory Rose. My vocal work Encounter Games(1973) was performed in the Wigmore Hall with Gregory’s vocal group Singcircle. And in 1975 I got a professional performance of a violin and piano piece, Transformations through a competition organised by the Richmond-upon-Thames Arts Council.

I joined the Civil Service and, sadly, lost touch with the professional music world. However, I continued to engage in music as an amateur and semi-professional as far as time permitted, and increasingly since retiring in 2008.

My compositions over the years embrace a number of different styles, and are mostly vocal and instrumental chamber music, often for unusual combinations, reflecting the performers available. In recent years I have composed a number of songs, with piano accompaniment, including a song-cycle with a First World War theme, A Wreath of White Poppies.

Some of my recent chamber works may be sampled (though only in synthesised form) on:

https://soundcloud.com/peter-openshaw

Sample works:

Wind Quartet (1968) 3 movements, duration 14′. 3rd movement revised 2017 as Isorhythmic Variations, duration 5’*
Meditations I, II and III for piano (1970-1)
Transformations (Raga Puriya Dhanashri) for violin and piano (1974), duration 10′
String Quartet in one movement (1977) duration 10′
Festive Overture, for orchestra (2001, revised 2016), duration 7′
String Quintet (2004), duration 16’*
Three Wordsworth Songs (2010)
Isorhythmic Variations, for oboe, clarinet, bassoon and horn Video
The Worm Descending, for bass clarinet and piano (2011) duration 6’*
Fantasia, for violin, viola and piano (2015), duration 4’*
A Wreath of White Poppies (six songs) (2016), duration 15′
Pendant for string quartet (2016), duration 6’*
(* available on Soundcloud)

Colin Johnson is active in composition and improvisation. Hs is particularly interested in pieces that have explored structured frameworks in which human musicians work with a mixture of technology, composed material, random choices, theatrical miniatures, found texts from internet searches, and improvised material. He is particularly interested in ways of structuring musical and theatrical material by drawing on ways in which people have attempted to formalise complicated systems: computer programs, role-playing games, instruction manuals, finite state machines, flow charts, examination rubrics, engineering drawings, assembly instructions for flat-pack furniture, signage, etc. Sometimes he writes straightforward music for acoustic instruments.

Further Information at
http://www.colinjohnson.me.uk/music.php

Sample works:

The Anti-Virtuoso: flexible ensemble (1998). Sample:
Three on the Floor: violin, cello, piano (1999). Sample:
“Her Fingernails Struck Carillons”: small ensemble (2001). Sample (IXION):
per second per second: percussion quartet (2001). Sample:
Brigg, Lincolnshire, 1906: piano and percussion (2008). Sample (Rolf Hind (piano)):
Just Another: small group of vocalists (2014). Sample (CoMA London):
The Sense of an Ending: mixed instrumental quartet (2016). Sample:

https://www.forumcomposers.org.uk.caracal.mythic-beasts.com/wp-content/uploads/2021/11/ColinJohnson_threeOnTheFloor_sampleForWebsite.mp3

etc.

Classically trained as a musician, Suarez works as a composer, songwriter and singer. She originates from the Basque region (South West France) and is based in London. She has an eclectic and versatile practice, and has worked extensively for film, theatre, dance and performance, as well as producing sound art and dance music. She has developed numerous sound installations through performances, site-specific work and musical scores. She also composes and performs songs and has released three albums as well as numerous compilations in UK and worldwide.

Her musical style combines electronic, classical, jazz, experimental, choral music, contemporary and urban music. She plays keyboards, piano, bass, guitar, percussion, vocals and electronics. Her recording studio is based in South London.

Her eclectic compositions have been broadcast, performed and released worldwide on radio, television and online such (BBC, Resonance FM, Channel 4, ITV, France 3, LA Sexta). She has collaborated with musicians from the English National Opera, BBC Concert Orchestra, South Bank Sinfonia, London Contemporary Chamber Orchestra, The Dulwich Choral Society, The Kaos Music Theatre Choir, Camberwell Community Choir, Transglobal Underground, Inner Vision Ensemble, Test Department.

She has exhibited at Tate Britain, Whitechapel Art Gallery and other major London galleries; Berlin Art Biennale, Cape Town Art Biennale.

Inspired by her interest in human rights and community engagement, Suarez has created several sound installations and public art works that explore these subjects through performance, sound art, music and lyrics. These projects have also led her to collaborate, perform and exhibit with other communities and artists in London, South Africa and Argentina including ArtAngel, Amnesty International, Greenpeace, Platform, People United, Glastonbury Festival, Liberty Festival, Cape Town 09 Art Bienale and Etoy.

Website: http://isasuarez.com

Sample works:

Spiralling (2018): music composed for a performance by LCCO (London Contemporary Chamber Orchestra), performed at St George The Martyr Church, London

Nocturnes Wonder (2017): Composition work combining beatboxing, choral voices, electronic music and orchestral arrangements – Produced in partnership with CoolTan Arts, Camberwell Arts and with public funding support form Arts Council England

Just Gone (2016): film soundtrack – directed by Sophie Austin, Cannes film festival 2017, winner of the Jury Prize award at The Cinema and Migrations Festival/Agadir 2016

If I could I would (2016): music composed for the award-winning physical theatre company Mimbre

At The Crossroads with Vincent (2014): music composition for an audio-walk inspired by Vincent Van Gogh’s letters in collaboration with artist R.M Sanchez-Camus, produced by Art Angel/Cooltan Arts, London

A selection of film soundtracks:
https://soundcloud.com/isasuarez-works/sets/isasuarez_soundtracks5

Alun Grafton began his musical career as a chorister at Rochester Cathedral. While studying for a degree in Latin and Archaeology at Nottingham University, he continued his musical studies privately. In 1985 Alun returned to Nottingham University to undertake teacher training in Classics and Music, and upon completion of the course, taught Classics, Music and ran the Philosophy programme at Eagle House School, Berkshire. He left teaching in 2016 to concentrate full time on his music.

Alun began composing at the age of 14 and his output covers orchestral, chamber, vocal, choral and instrumental work.

http://www.alungrafton.org

Sample works:

Examples of his music can be found on his website.