A bold declaration of purpose for all Christians this inspiring anthem from Joseph Martin poetically states what it is that God's children are called to do. We are one great alleluia. We declare the risen Christ... We must bea hymn of healing... We must share... love's redeeming grace... Triumphant and echoing with confidence “We Are Music of the King” says it all – who we are and why we are.

The task: to write a piece that could involve children as players singers and composers alongside a professional symphony or chamber orchestra. The solution: a peace-cry for the biosphere in which the collaborative nature of theenterprise is a metaphor for a wished-for human enlightenment to the ways of the natural world. Davies provides five musical elements and five ways of development and uses these to illustrate five branches of life on earth:water-plants trees fish birds and mammals (including man). There is a space for answers from children's instrumental groups and then a larger space in which the children can develop the given ideas perhaps with members of theorchestra. Davies returns as composer to depict through an excess of development creation turned sour. Finally everyone comes together with a unison hymn with orchestra and instrumental groups celebrating the turn of thetide.This work for young instrumentalists children's chorus and orchestra was commissioned by the Association of British Orchestras as the centrepiece of an education project which coincided with the implementation of theNational Curriculum for music in schools in England and Wales echoing similar developments in Scotland and Northern Ireland.Score. Duration c. 25mins.

For Chamber Orchestra (Flute Oboe Cor Anglais Basson Horn in F Trumpet in C Strings: [5.4.3.2.1])Composer's Programme Note:Points of View is a work about the different musical elements which arepersonified by soloists from the orchestra all unifying at the end in a passionateclimax.The first section ‘Mysterious’ features a solo horn and also establishes tonality [Bflat] texture and harmony. The harmonies are often chordal 6-note clusters andthey are an important binding articulating and textual element throughout thework.A solo trumpet joins the solo horn and as the chordal clusters disappearintothe stratosphere initiates the rhythm of a light-hearted scherzo ‘Lively’. Thetrumpet’s rhythmic figure is echoed and developed by the winds.The solo oboe and cor anglais now introduce a very lyrical melody in fallingthirds ‘Sensuous’. The chordal clusters as well as the trumpet’s rhythmic figureeventually reappear to accompany this melodic theme and then the violinspassionately respond by taking it over ‘Passionato’. All the elements thusunifying to culminate in the coda.These elements could also perhaps be described in non-musical terms as‘imagination’ [solo horn] ‘action’ [solo trumpet] ‘emotion’ [solo oboe and coranglais] which eventually combine in the climax [violins].

Vltava (The Moldau) is the second in Smetana's Ma Vlast set of symphonic poems written for his native Czechoslovakia and named after the river that passes through Prague. The music is very programmatic in the Romantic sense carefully and vividly depicting the journey of the water from the springs to the rapids. Deeply and affectionately nationalistic the music carries the listener through a Peasant Wedding and a Forest Hunt with touches of enchantment from the Moonlight: Dance of the Water Nymphs. Vltava is a work very much of its time featuring so many of the characteristics that now define the Romantic era from our modernperspecyive and is unsurprisingly one of the most popular and widely performed Symphonic Poem of the repertoire.Scored for: 2.1.3.2/2(1asax)(1tsax).2.2.0/timp.1perc/str