Giles Swayne

Giles Swayne's Zebra Music comprises twelve pieces written to be suitable for the junior contemporary Piano student, offering new music ideas to younger players. As the title suggests, the music is wr...

Modern Liverpudlian composer Giles Swayne's 'Murder Of Gonzago' score gains inspiration from Shakespeare's scene in 'The Tempest. '

Composed in 1983 for Clarinet and optional drum accompaniment.

Five songs of innocence and experience based on poems by William Blake for unaccompanied mixed chorus. Includes a Piano accompaniment for rehearsal purposes.

Vocal Score of Giles Swayne's 'Cry' for 28 amplified voices. (SATB) a capella. Duration 78 minutes. Composed in 1978-79, and first performed by the BBC Singers under John Poole.

Described by the composer as 'a prayer for sanity, a cry in the wilderness to a god who may or may not be there', this unconventional Mass (with new words) is written in the context of a world where m...

A re-engraved and re-edited copy of the 1969 set of pieces for unaccompanied mixed voices, including Where The Bee Sucks and Full Fathom Five.

A first retrospective of Giles Swayne's challenging but rewarding liturgical settings. This album brings together five short religious choral settings, for mixed voices unaccompanied or with organ.

The Magnificat was written in 1982 in response to a commission from Christ Church College, Oxford, whose choir first performed it under their conductor Francis Grier in July of that year. At that time...

Unison or 3-part Choral Leaflet.

Giles Swayne's Alleluia. Set of instrumental parts for Harp, Piano and Percussion (3 players).

Traditional English carol, arranged and extended by Giles Swayne. Traditional words, and new words by Giles Swayne.

Swayne Giles Circle Of Silence for 6 Solo Voices. King's Singers Arrangement.

Commisioned by Julian Bream and written in 1986. First performed by Gary Ryan iat a concert in honour of the composer's 50th birthday on 14th October 1996.

A rare work for the Lute-based Theorbo. Below is the programme note from the composer. In July 1998 I decided that I would use a theorbo in Havoc, a piece I was writing for the 1999 Proms (premiere Se...