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Jalalu-Kalvert Nelson Joins Composers Edition

28 January 2021 Comments Off on February 2021 New Release Round-Up Views: 308 CE News

February 2021 New Release Round-Up

An initial selection of works from Jalalu-Kalvert Nelson plus a range of new orchestral , chamber and vocal works as well as new editions of some older compositions.

Also available as a PDF and an MS Excel Spreadsheet.

Mark Bowden


for chamber orchestra

A reworking of a chaconne from Act II, Scene 2 of Bowden’s opera Sea Change. Commissioned for the BBC National Orchestra of Wales.


Emily Doolittle

Social Sounds from Whales at night (vocal version)

for voice, percussion and tape

An edition for voice, complimenting those already available for oboe d’amore, english horn and viola.


Bushra El-Turk


Aria for Rosina’s Ghost, Act 2, final scene for soprano and piano

Aria commissioned by the National Opera Studio. Text and libretto by Cordelia Lynn.


Brian Inglis


for Malcolm Arnold’s Clarinet Concerto No.2 for clarinet in Bb

Commissioned by Alex Bondonno for the Malcolm Arnold’s concerto for Benny Goodman.


2 Cadenzas

for Anton Heberle’s Concerto in G Major for soprano/descant recorder


Tonia Ko

The Fragile Season

for violin

Commissioned by ARCO Collaborative for “Alone Together” Written for Jennifer Koh, with text by the composer.


Catherine Kontz

Cahiers Trouvés

for electric guitar and effects

Graphic score inspired by the Cahiers du Cinema and French Nouvelle Vague films of the 1950s/1960s.


Jalalu-Kalvert Nelson


for violin and piano



for violin and bassoon

Commissioned and premiered by the Wolftone Duo.


“I Can’t Breathe”

Eric Garner in Memoriam for boys or men’s chorus

In memory of Eric Garner, who died by the hands of the New York city Police on Staten Island in 2014. The only text in this work are the last words spoken by him: “I can’t breathe”. The last work in this work is the word, “Erica”. This is the name of Mr. Garner’s daughter who until her untimely death, fought for justice for her father. This is also a tribute to her.



for string quartet

For string quartet playing percussion instruments commissioned for the Oberlin Dance Collactive/ San Fransisco and the Kronos Quartet.


Love Songs of Yosano Akiko

for three sopranos and ensemble

Settings of the late Nineteenth Century poet expressing intimate feelings and impressions from nature – essentially feelings of love, longing and desire. Conceived as a kind of ritual as in the Kabuki performance tradition.



for solo piano

Premiered in November 2020 at Das Institut Zurich by Martin Christ.


String Quartet No.2

Bent Out of Shape/Speakings

Full of abrupt changes and different moods, this work also makes effective use of the performers voices.


Trois Alleluias

for SATB choir with divisi

A setting of the word alleluia, in three different ways.


The Light Shines

for vocal ensemble

The text of this work is a modified form of the first book of John Chapter 1 verse 5.


Woo of Wii

for clarinet quartet


John Palmer

Aria a 3

for alto flute, vibraphone and piano

Commissioned by the 2021 Zwischen Zeiten Symposium in Dresden, Germany, for the Rumanian Trio Contraste. The music is based on the opening Aria of J.S. Bach’s Goldberg Variations.


Richard Pantcheff

The Annunciation to Mary

for narrator, solo violin and pianoforte

Poem by Rainer Maria Rilke (1875-1926) in the English translation by Richard Pantcheff. Written for the English Music Festival at Horsham, West Sussex, December 2020.


Robert Peate

Morlich Meditation

for solo marimba

Inspired by the outstanding beauty of Loch Morlich. Composed for the Royal Academy of Music’s 200 PIECES project, and premiered by Ethan Skuodas.


Processional and Bacchanal

for orchestra

A single-movement piece which depicts an approaching, riotous Bacchanal.


Two Studies

for two violins


Three Vintage Part Songs

for SATB choir

Settings of Alfred Lord Tennyson, Annette Wynne and Thomas Hardy and something of a tribute to traditional part song repertoire.


Susannah Self


a song cycle with monologues for mezzo soprano and piano with optional cello and string quartet

An personal exploration of turning points in Susannah Self’s life as a singer/composer through the prism of a ten-year Jungian analysis.


Heroic Women

an opera for mezzo-soprano (or ensemble of singers), alto saxophone, guitar, piano and string orchestra (or string quintet)

Developed out of the composer’s work as a composer and singer in The Garden Venture, a program for new opera at The Royal Opera House, Covent Garden.


Linda Catlin Smith


for bass clarinet in Bb

For Heather Roche.


With Their Shadows Long

for violin and piano

Composed at the request of the Sabat/Clarke in which the two instruments are conceived as equal but different elements of the same line, two entities traveling the same path, occasionally casting shadows.


Naresh Sohal


for flute and cello

Written at the request of Rohan de Saram. First performed 14th May 2009, by Carin Levine and Rohan de Saram in Tokyo.



for orchestra with soprano

Lila, is a Sanskrit word meaning ‘the play of Nature’. According to Indian philosophy, this is a cyclical process, with energy moving alternately between potential and actual realisation. At the start of each of its 7 section, the double basses provide a pulse like a heartbeat, representing the process of meditation. And from here the first and ensuing stages of exploration, with their particular elemental characteristics, unfold.


Songs of the Five Rivers

for soprano and piano


The Divine Song

for narrator and orchestra

A setting of the first two chapters of the Bhagavada Gita, or Divine Song. written to mark the 70th birthday of maestro Zubin Mehta, to whom it is dedicated. Commissioned by the Israel Philharmonic Orchestra.


Ian Stephens

Hummingbird (brass band version)

for brass band

The original version of Hummingbird was commissioned by Finchley Children’s Music Group in summer 2020. The extra volume and variety of sound offered by the brass instruments, and the translation of body percussion into a percussion section, gives this piece a wider dynamic and emotional range than the original, while preserving its mesmeric repetition and its sinuous themes that hint at the eastern Mediterranean.


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