A Song of Blue

for SATB and piano In A Song of Blue, Chilcott explores the power of music through the metaphor of nature. This piece opens with a glittering ostinato from the piano. The upper voices begin by singing in unison, before expanding into more complex textures and yearnful harmonies.

Blue Third Pieces

Blue Third Pieces, for flute or B flat clarinet and guitar is a homage to the interval of the third and its place in the blues. Including references to Ray Charles and using samples from Dizzy Gillespie and Kenny Clark's 1945jazz piece 'Salt Peanuts', a slow improvisatory movement is paired with a lively syncopated one. A stylish work for an interesting instrumental duo.

Foundations of Rock From Blue Suede Shoes to Suite : Judy Blue Eyes

Foundations of Rock From Blue Suede Shoes to Suite : Judy Blue Eyes

Rejoice and Sing : Hardback, gilt blocking, blue

Arranging Gershwin Rhapsody in Blue : and the Creation of an American Icon

Arranging Gershwin Rhapsody in Blue : and the Creation of an American Icon

Clarinet Quintet

This beautiful chamber work takes its inspiration from an artist's book by the Scottish artist Ian Hamilton Finlay, 'A Litany A Requiem'. This book lists on alternate red, white, and blue paper plants from the month of Prairial(May-June in the French Revolutionary Calendar), set against a list of revolutionaries guillotined in the month of Thermidor (July-August). The work is in two movements - 'A Litany for Prairial' which is fast, lively, and (mostly)pastoral; and 'A Requiem for Thermidor' which is slow, largely subdued, and funereal.

Passion Music

Passion Music continues the fusion of jazz and choral music so successfully blended in Will Todd's Mass in Blue. The structure highlights different points in the Passion story, beginning with a newsetting of 'Greater love has no man' and including an evocative Stabat Mater, a movement focusing on the seven last words of Christ, and a setting of 'Were you there when they crucified my Lord?'. While some sections arereflective, Todd also makes full use of his understanding of energetic jazz and gospel. The vocal soloist is given plenty of expressive freedom, singing both with the choir and independently to achieve the characteristicjazz-soulstyle. The seven-piece jazz accompaniment, which is presented in the vocal score as a piano reduction for rehearsal only, completes the ensemble.  The vocal score is available on sale and hire. A completebacking track and individual rehearsal tracks for the vocal parts are also available to download.