Nymphéas for Clarinet Choir (2016) is a reworking of Nymphéas for Ensemble (1995). It is written for a clarinet choir of 9 player (E-flat clarinet, 3 B-flat clarinets, 2 E-flat alto clarinets, 2 B-flat bass clarinets, and contrabass clarinet). The piece has been published by ALEA Publishing and Recording.

Dragonfly (2001; 2016) for flute, viola and harp, is published by ALEA Publishing and Recording. The duration is ca. 5:30 minutes. The catalogue number is: #ALEA1154. There is a computer rendering of the piece which can be heard on Soundcloud.

The first movement is very Romantically charged, with rich harmonies, dense textures and broad melodies. To be sure, it is in my style of dissonant tonality, sometimes very chordal and traditional and sometimes, when I felt it was appropriate, most strikingly dissonant. Composers of previous centuries would utilise the techniques and language of older composers, adding freely to them in their own more modern styles, and so do I. I have come to regard tonality/atonality and consonance/dissonance as merely expressive devices, and I think modern audiences are coming to a similar acceptance. Just listen to certain movie scores (Freddie Kruger, for example) and you will soon come to see why audiences are more open to new musical sounds! The second movement is the one that gives this trio its nickname, "The Armenian". In writing, in 2016, a theatre piece based on the life of St. Gregory of Armenia (known as "The Illuminator"), I came across a lullaby called "Ruri, Ruri" and fell in love with it. I used it of course in that work, and have set it once more here in this trio. I've set it for mixed choir also. There are various renditions of this song on Youtube, quite different from one another. I have chosen a 5/4 version, and several others may be heard by following the links there. The last movement is a circus polka, energetic to the point of mania, and requiring a strong left hand on the part of the pianist. This section should be great fun for any players who can hack it! It gets some of its inspiration from the Shostakovich Piano Concerto #2, one of whose movements starts fast and furious and just keeps growing. I decided to do that, and you can decide how successful I was.

Spring Tide Arabesque for two Bass Clarinets is now published by ALEA Publishing and Recording. The catalogue number is: ALEA1166. The piece has a duration of c. 5 minutes.

Two Pieces (for Bass Clarinet Duo) The two pieces for bass clarinet duo began life in a small sketchbook where the ideas were developed by hand before committing them to being typeset. The resultant pieces are written in an advanced, modern idiom, making use of contemporary techniques, with fingerings provided for the more atypical parts. Inspired by meteorological phenomena, each takes a contrasting approach to exploring the force of nature in the wind, ranging from the gentlest breeze to the raging tornado. The first piece, entitled A Cross-Breeze Surges, represents the determination of the wind to overcome man's attempts at directing air flow. The bass clarinetists take on an almost antiphonal role suggested by two open windows at opposite ends of a room. The through-breeze is interrupted by a sudden gust, capable of slamming doors. The second piece, Tumult of Amber and Rain, is a more rapid, agitated piece of a shorter duration. The title was formed from a combination of two provisional titles, Tumult of Straw Nests and Whirlwind of Amber and Rain. This turbulent piece explores the violence of a powerful whirlwind, and it is possible for the listener to hear an almost growling sound. Note: Extended-range instruments required for both parts. https://bassclarinet.ecwid.com/March-Two-Pieces-p146149173