Arrangement and Orchestration by Andrea Cappellari. Full score and 16 instrumentals parts : 1) C Instr. (Recorder) / 1) C Instr. (Flute Violin) / 1) Bb Instr. (Clarinet Soprano Sax Trumpet) / 1) Eb Instr. (Alto Sax) / 2) C Instr. (Recorder) / 2) C Instr. (Flute Violin Oboe) / 2) Bb Instr. (Clarioprano Sax Trumpet) / 2) Eb Instr. (Alto Sax) / 3) C Instr. (Violin Viola) / 3) Bb Instr. (Clarinet) / 3) Eb Instr. (Alto Sax) / 4) C Instr. (Bass Cello Bas-soon) / Guitar / Piano 1 / Piano 2 / Percussion / PLUS Choir (Voice 1 & 2)

Scored for Baritone/Narrator and Ensemble this humerous work takes its texts from various sources including internet spam!Baritone Voice/NarratorFluteOboeClarinetBassClarinetBassoonFrench HornTrumpetTrombone2 PercussionistsPiano and Keyboard SamplerViolin 1Violin 2ViolaCelloDoubleBass 

In Circles - 16 Imaginary Dances for 18 Players (2010). Parts are available on hire: hire@ewh.dk Instr.: FluteOboeClarinet in BbBass ClarinetBassoonHorn2 Trumpets In BbTenor-Bassposaune2 PercussionistsPiano2 ViolinsViola2 CellosDouble Bass Programme note About five years ago the Ensemble Modern commissioned a composition giving me relatively free rein over instrumentation duration and completion date. I was very excited about the opportunity and eager to start work but first I had to finish asymphony and a cello concerto. However when I wanted to begin writing the piece for Frankfurt inspiration became silent and remained silent for the next three years apart from the two works for chamber orchestra: I experienced my first writer’s block. This was not my first commission but the first time that I was seriously worried about a piece and started thinking about the commissioning ensemble and its expectations. If anything I held the Ensemble Modern in too high esteem. The ensemble is notorious for being a group of all-rounders who have already seen and done everything. However it was simply time for me to challenge my self-belief as composer and to search out what kind of composer I really am. Whatever the true reason was I still didn’t get anything down on paper. Nothing would gel. In 2008 a stipend from a New York foundation led me to an Italian lavender-castle from the 15th century far away from everything else deep in Umbria. The deadline for my first opera moved dangerously closer but was barely started. The next commission for an orchestra was also waiting in addition to the piece for EM: only empty sheets.  When I came home six weeks later though I hadn’t finished anything the spell was broken. Behind the massive walls drafts had been created for what within the