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Anima Mia for bassoon and orchestra II. Life (excerpt)
I. At The Round Earths Imagin'd Corners
PUCK - fleeing from the dawn
Mad Song I. The wild winds weep, And the night is a-cold
Prometheus - for bass clarinet and orchestra: 1st Movement
Ode to a Nightingale for mixed choir and solo cello (excerpt)
FATHOMS IV. The Isle is Full of Noises
Winterleben II. Winter-Lerchenton (European premiere)

Creavit Deus Hominem: “Creavit Deus Hominem” (So God Created Man)

Provided to YouTube by iMusician Digital AG Creavit Deus Hominem: “Creavit Deus Hominem” (So God Created Man) · Frankfurt Radio Symphony Orchestra · Duncan Ward · José Luis García Vegara Geoffrey Gordon: Fumée ℗ Geoffrey Gordon Released on: 2026-05-15 Auto-generated by YouTube.

Ice "Aut inveniam viam aut faciam"

Provided to YouTube by Naxos Digital Services Ice "Aut inveniam viam aut faciam" · BBC Scottish Symphony Orchestra · Martyn Brabbins · Geoffrey Gordon Mythologies & Mad Songs ℗ 2024 Orchid Music Limited Released on: 2024-05-17 Orchestra: BBC Scottish Symphony Orchestra Conductor: Martyn Brabbins Composer: Geoffrey Gordon Auto-generated by YouTube.

Geoffrey Gordon: Fumée (2021) (Asian première)

This is the Asian premiere of Geoffrey Gordon's concerto for clarinet and chamber orchestra, Fumée, with the Hong Kong Sinfonietta, conductor Christoph Poppen and soloist Horácio Ferreira, from Hong Kong City Hall Concert Hall, 29 June 2024.

Geoffrey Gordon: The Doktor Faustus Cello Concerto

This is an excerpt from composer Geoffrey Gordon's Concerto for Cello and Orchestra, commissioned by the Copenhagen Philharmonic for their principle cellist, Toke Møldrup, and premiered on 31 January 2014, at the Royal Danish Academy of Music, with guest conductor, Rory Macdonald.

Geoffrey Gordon: Jeux de Création for solo harp

This is a live performance of composer Geoffrey Gordon's work for solo harp, Jeux de Création, commissioned for Frankfurt Radio Symphony Orchestra principal harp, Anne-Sophie Bertrand. The studio recording of this work is available on the Naxos label on a CD of the same name, released in October 2021.

Geoffrey Gordon: Roman Rituals for Horn Solo

Roman Rituals (2020), World Premiere as live video production Composer: Geoffrey Gordon Horn: Saar Berger Sound Engineer: Lukas Nowok

Geoffrey Gordon: CRUCIFIXUS (world premiere)

This is the world premiere performance of Geoffrey Gordon's CRUCIFIXUS for double choir (SATB/SATB) and solo cello, featuring the Mogens Dahl Chamber Choir and cello soloist Toke Møldrup, given on 30 April 2017, Holmens Kirke, Copenhagen, Denmark. The recording is courtesy of Danish Radio, available here: www.dr.dk/p2/p2-koncerten/p2-koncerten-2017-05-03

He saith among the trumpets - Geoffrey Gordon || WORLD PREMIERE RECORDING

Enjoy the world premiere recording of Geoffrey Gordon's piece "He saith among the trumpets" featuring Paul Merkelo and Stéphane Beaulac on Trumpet and Josh Wynnyk on Percussion. Programme Notes: "He saith among the trumpets, Ha, ha; and he smelleth the battle afar off, the thunder of the captains, and the shouting." (Job 39:25) He saith among the trumpets draws inspiration and title from the second book of poems by one of the best known British poets of the Second World War, Alun Lewis (1915-1944). The collection was published posthumously in 1945 and charts Lewis’ short day's journey into night, the thunder of cannon filling his pages, along with clash of steel, clatter of horses' hooves and bubbles of blood 'neath stiff upper lips, prophetically “till a bullet stopped his song”. In November 1942, Lewis had sailed for India and in early 1944 he was moved to the Burmese front. On his way, at Arakan in Lower Burma, he was killed in a mysterious incident involving his own pistol. Drawing on the bristling energy and brooding lyricism which unfolds through the verses, this new work for solo trumpet presents an expressive and dramatic musical reaction to the inspiration of Lewis’ poetry, through Gordon’s highly idiomatic language. An opening Prelude transforms into a Fanfare of battlefield colour, violence and personal tragedy, followed by a Nocturne of nihilism holy in its intensity. Motifs challenge and suspend, contrasting open and muted effects, evoking the raw imagery and bitter truths of soldiering, in sound, rhythm and dynamic contrast. In his last letter to his publishers, Alun Lewis wrote of these poems that they should be read as the musical score of a life that will again express itself in prose when the din of war and preparation for war had died down, and there was time again to write and rewrite. For Alun Lewis, those days would never come.