Michael J Stewart

LIST OF WORKS

Study No. 1 'Elegia'

for Piano
1977
dur: 4'
first performance: Chichester, 1977

Study No. 2

for Piano
1977
dur: 4'
first performance: Chichester, 1977

Epitaph

"Rose, oh pure contradiction, delight in being no one's sleep under so many lids" - R. M. Rilke

for Solo Flute
1977
dur: 4'

Synthesis I

 for 2 Pianos, Percussion and Tape
1977-78
dur: 10'
first performance: Chichester College of Further Education, 1978
 

Sonata for Percussion

(after 3 Poems by Baudelaire)
for Percussion Ensemble (2 players)
1978
dur: 15'

Dark of The Moon

  for Tape
dur: 5'
1978
first performance: Theatre Royal, Bognor Regis 1978

Sonnet

piano
1978
dur: 4'30"
first performance: 1978 Chichester

La Miracle de la Rose

for Piano, Percussion and Tape
1978
dur: 16'
first performance: 1978 Chichester

Dusk

(after Marc Chagall)
for Soprano and Piano
1978-79
dur: 4'30"

Autumn Music

piano or harp
1978-79
dur: 4'30"
dedicated to the memory of Anne Lawrence
first performance: 1979, Spanish Place, London. John Jannson, piano

Concerto for Flute, Strings and Percussion

1978-79
dur: 16'

Trio (personae seperatae)

"Are we the same personages divided by the gaze of another?' from Personae Seperatae by Eugene Montale

for Piano, Violin and Cello
1980
dur: 21'
dedicated to Brian Fogarty
first performance: The Blue Rider Ensemble, Jackson's Lane,
Archway Road, London 26th June, 1980

Mania

for Piano and Multi-Track Tape
1981
dur: 6'30"
In Memory of Jani Christou
first performance: Trinity College of Music, 1981, Michael Stewart, piano

Hypnos (sleep)

flexible scoring
1981
dur: 3'30"
first performance: British Music Information Centre, London, 20th October 1981

Epicycle

5 synthesisers
1982
dur: 6'10'
first performance: Spanish Place, London, 1982

Hidden Faces

for Piano, Tape, Percussion and Actor
1982
dur: 7'
first performance: Spanish Place, London. Rick Cartmale, perc/actor,
John Jansson, piano

Katharsis

for Orchestra
1983

Elegy

foralto flute, saxophone and percussion
1983
first performance: British Music Information Centre, London, 20th October 1981

Winter

for Piano
1996

Pasiphae

for Solo Flute
1997

A Dance to the Music of Time

for Multiple Pianos
1997

Chimera

for Virtual Piano
1997

The Calling

for Virtual Piano
1997

Run

for Virtual Piano
1997-98

Event Horizon

for Virtual Orchestra
1998
dedicated to Jonathan Lewsey

Tsui

for Virtual Orchestra
1998

Arrow

for Virtual Orchestra
1998

Lachesis

"The Hour of the wolf is the hour between night and dawn. It is the hour when most people die,  when sleep is deepest, when nightmares are most real. it is the hour when the sleepless are haunted by their greatest dread, when ghosts and demons are most powerful. The hour of the wolf is also the hour when most children are born." Ingmar Bergman

for Piano or Harpsichord
1998

Aspire

for Virtual or Multiple pianos
1998

Blue Remembered Hills

(incidental music to Denis Potter's play)

for Virtual Ensemble
1998
dur: 12'
first performance: Sterts Arts Centre, Upton Cross, Liskeard, Cornwall, June 1998

Sailing to Pleiades

for Two Pianos
1998

Kepler (Harmonices Mundi)

"Geometry existed before the creation of things, as eternal as the spirit of God;  it is God himself and gave him the prototypes for the creation of the world." Johannes Kepler (Harmonices Mundi 1619)

for Two Pianos and Strings
1998

TAOS (The Art of Seduction)

for Electronics
1998
dedicated to Tamzin Aronowitz

Kepler (2nd version)

for Two pianos
1998

Singing The Ancestors

"By singing the world into existence, he said, the Ancestors had been poets  in the original sense of 'poesis', meaning 'creation'. No Aboriginal could conceive that the world was in anyway imperfect' from: The Songlines by Bruce Chatwin

for Virtual Ensemble
1998

Singing the Ancestors

(Red Earth Remix)
1998

Chant

"Our people , Flynn said , say they recognoze a song by its 'taste' or 'smell' ... by which of course, they mean 'tune'. The tune always stays the same, from the opening bats to the finale'. from: The Songlines by Brice Chatwin

for Strings
1999

Dreamtime

"He went on to explain how each totemic ancestor, while travelling through the country,  was thought to have scattered a trail of words and musical notes along the line of his footprints, and how the Dreaming-tracks lay over the land as 'ways' of  communication between far flung tribes'.from: The Songlines by Brice Chatwin

for Piano, Flutes, Harp, Saxophone and Percussion
March 1999
Dedicated to Tamzin Aronowitz

The Gate

(from the Book of Gates)

see work in progress
for Virtual Orchestra
1999-2000

Lake of Fire