VOCAL
AGAINST OBLIVION PART 3 [2014]
for voice and improvising ensemble. Devised in collaboration with the Sicilian Improvisers Orchestra. First performed Teatro Garibaldi, Palermo, Italy. April 2014
AND THEN HE ASKED ME [1998]
for 2 female voices, violin, viola, piano, bass Commissioned by David Gale & Deborah Levy.
ENDINGS [2011-12]
for voices, ensemble and electronics in collaboration with Kaffe Matthews. First performed Southbank Centre, London, May 2012
GOING DOWN [1990]
(words David Gale) for mezzo soprano and small ensemble. First performed Penzance Lido (Melanie Pappenheim voice).
HALELUJAH [2007]
for solo countertenor and SATB chorus
IDYLLIC RHYTHMS [1981]
for amplified ensemble and voice (bass clt, sop sax, alto sax, tuba, 2 vns, pno, kybds, el. gtar, perc, soprano voice) First performed by Regular Music – ACME Gallery, London 1981
NORTH SOUTH EAST WEST [1989]
for amplified ensemble and voices (clt/bass cl/saxes, trpt, bass tbn, vn, vla, pno, kybds, perc, 4 voices (satb)). First performed by Regular Music II ICA Theatre, London
SANGRE SUITE: MILAGROS, VALDEZ, DANTE, ALTURAS DE MACCHU PICCHU [1995]
words Pablo Neruda) for 2 voices and chamber ensemble (clar/bass clar, trpt, horn, trombn, vn, cello, bass, 2 pianos (4 hands), percussion) First performed ICA Theatre and broadcast BBC Radio 3 'Hear & Now'
SO IN AMERICA [2007]
words Jack Kerouac) soprano, 2 altos, baritone, el. keyboard, marimba. First performed Toynbee Studio Theatre, London March 2007
THE GAZETTEER OF WORLD ORDER
[1989] for amplified ensemble and voices (clt/bass cl/saxes, trpt, bass tbn, vn, vla, pno, kybds, perc, 4 voices (satb)). First performed by Regular Music II ICA Theatre, London
THE THIRD DREAM [1981]
for voice and amplified ensemble (sop sax, alto sax, tuba, 2 vns, pno, kybds, el. gtar, perc) First performed by Regular Music, ACME Gallery, London
THE ONLY WINNER [1984]
for amplified ensemble and voice (clt/bass cl/saxes, trpt, bass tbn, vn, vla, pno, kybds, perc, el gtar, bass gtar, voice) First performed by Regular Music – ICA Theatre, London
THERE WER A LITTL BABBY
[1989] (words Russell Hoban) for amplified ensemble and voices (clt/bass cl/saxes, trpt, bass tbn, vn, vla, pno, kybds, perc, 4 voices (satb)). First performed by Regular Music II ICA Theatre, London
TUNING and UNHAMPERED [1996] (words David Gale) for mezzo soprano and small ensemble. Commissioned by Melanie Pappenheim. First performed Almeida Festival 1996
WARDANCES I & II[1989]
for amplified ensemble and voices (clt/bass cl/saxes, trpt, bass tbn, vn, vla, pno, kybds, perc, 4 voices (satb)). First performed by Regular Music II ICA Theatre, London
WHITE NOISE [2009]
(words Don DeLillo) 3 voices (sop, mezzo, ten), piano, el. guitar, percussion. First performed Riverside Studios, London July 2009
INSTRUMENTAL
18 GUITARS [2009]
version for 16 electric guitars and 2 bass guitars. First performed Kings Place, London May 2009
18 GUITARS [1997]
version for solo electric guitar and tape commissioned by Tim Brady first performed Huddersfield Contemporary Music Festival, 1997
18 GUITARS [1995]
Commissioned by the Nottingham Guitar Festival for 14 acoustic, 2 electric and 2 bass guitars. First (partial) performance: Nottingham Guitar Festival, June 1995.
CONCERTO FOR ELECTRIC GUITAR AND AMPLIFIED ENSEMBLE [1999] Commissioned by Tim Brady. First performances University Hall Bath, Djanogly Hall, Nottingham, Canary Wharf, London
DREAMS WINTER [1995]
(Nocturne) for violin, piano, percussion, double bass and narrator Text: Tim Etchells. Commissioned by BBC Radio 3 as part of 1995 British Music Year. First performed ICA Theatre, October 1995 broadcast BBC Radio 3 'Hear & Now', October 1995
FAST WALK, SLOW WALTZ [1980]
for bass clarinet, sop sax, alto sax, tuba, 2 violins, piano, elec keyboard
MUSIC FOR FILM [1981]
for amplified ensemble (bass clt, sop sax, alto sax, tuba, 2 vns, pno, kybds, bass gtar, perc) First performed by Regular Music, AIR Gallery, London
OUT OF PARADISE [1991]
for string quartet. Commissioned by the Balanescu Quartet, first performed at the Phoenix, Leicester
PURCELL MANOEUVRES [1981]
for sop sax, alto sax, tuba, 2 vns, pno, kybds, el. gtar) (first performed by the Michael Nyman Band at the 1981 SPNM weekend, London)
PURCELL MANOEUVRES NOS 1, 2 AND 4
arr. for piano, violin, viola, saxophone, bass. First performed by Topology at ABC Studios, Brisbane, Australia 16 April 2000
THE FOURTH DOOR [1983]
for amplified ensemble (bass clt, sop sax, alto sax, tuba, 2 vns, pno, kybds, el gtar, perc) First performed by Regular Music, ICA Theatre, London
THE GAZETTEER OF WORLD ORDER [2002]
(arranged for antiphonal brass ensemble) First performance by Queensland Conservatorium Brass Ensemble at 'Jammin and Connectin' Festival, Queensland Conservatorium, Brisbane, Australia
THE PASSION OF PIET MONDRIAN [1993]
for chamber ensemble (clt, sax, vn, cello, pno, perc) Commissioned by the Harmonie Band, first performed Powerhouse, Nottingham
OPERA/MUSIC/THEATRE/PERFORMANCE
A FAREWELL TO ARMS [2014]
soundtrack for theatre performance (stage adaptation of A Farewell to Arms by Ernest Hemingway) by Imitating the Dog Theatre Co. Adapted and directed by Andrew Quick and Pete Brooks
A PLACE IN EUROPE [1983]
music theatre for narrator, four male and four female performers (string trio, saxophone quartet and tape). First Performance: Impact Theatre Co-operative (Co-production by Inteatro, Bologna and ICA Theatre, London), Bologna Oct 1983 followed by tours of Italy and UK
ABDUCTION [1993]
music theatre for counter tenor, baritone, tape and 3 performers Text: David Gale First performance Lumiere & Son Theatre Company (counter tenor Jonathan Kenny, dir. Hilary Westlake) NOW '92 and ICA Theatre, London
AGAINST OBLIVION PART 1 [2006-2007]
music theatre for 8 musician/performers (2 violins, sax, trombone, harpsichord, keyboards and voices). First performance Regular Music II, Toynbee Studios Theatre, London March 200
AGAINST OBLIVION PART 2 [2009]
music theatre for 3 singers and 3 instruments (piano, drums, el. guitar) First performed at the Tête à Tête Opera Festival, London 2009
A PLAGUE ON BOTH YOUR HOUSES [1996]
(music for theatre) First performance National Youth Theatre. (dir Pete Brooks) The Place Theatre 2-14 Sept 1996
BEULAH LAND [1994]
(National Theatre Studio production) Lucy Bailey (director), Premiered at the ICA Theatre, London
BLOOD (SANGRE) [1995]
(Insomniac Productions) Blood (Sangre) Insomniac Productions Ltd. writer/dir. Pete Brooks. First performed Teatro, Bellavista, Santiago, Chile
DEADWOOD [1985]
words David Gale for amplified ensemble, satb chorus and tape. First performance: Lumiere & Son Theatre Company Site specific production for Kew Gardens (1985) and Singapore Festival (1988)
DREAMTIME [1996]
Louder than Words Productions) director Ruth Ben-Tovim. The Young Vic 14 May - 8 June 1996
GONGS AND VOICES [2002]
for mixed ensemble and voices. First performed by Queensland Conservatorium Improvisation Ensemble with John Rogers, at Queensland Conservatorium, Brisbane
LULU UNCHAINED [1984]
music theatre for soprano and tenor voices, mixed ensemble, tape and four performers [1986] (ICA Production). Pete Brooks (director), Kathy Acker (writer), Simon Vincenzi (designer)
MACBETH FALSE MEMORY [2000]
music for theatre. Words by Deborah Levy, Actors Touring Company, Lyric Theatre Studio and UK tour
PANIC [1985]
(Lumiere & Son Theatre Company)
for 5 female voices and tape. Lumiere & Son Theatre Company Tour of UK and Scandinavia 1986/7
PARADISE [1987]
(Lumiere & Son Theatre Company) for string trio, voice and performers. Lumiere & Son Theatre Company UK Tour 1988/9
THE LONG SEARCH FOR THE NECESSARY TOOL [1984] (music/video production for narrator, amplified ensemble and voice with live video projection) collaboration with video artist Steve Littman commissioned by the Midland Group, Nottingham) first performed Midland Group, Nottingham 1984
THE MENACED ASSASSIN [1989]
chamber opera (libretto: Claire MacDonald) Commissioned by The Royal Opera House, Covent Garden. First performed at ’Garden Venture’, Donmar Warehouse, London 1989
THE SLEEP [1985]
(Insomniac Productions, dir. Pete Brooks) music theatre for two soprano, tenor and bass baritone voices, 2 keyboards, tape, two actors and eight dancers 4 voices, keyboards, tape and electronics. Performed at Glasgow Mayfest, Brighton Festival, Polverigi Festival and Riverside Studios, London
THE ZERO HOUR (aka STUNDE NULL) [2012]
soundtrack for theatre performance by Imitating the Dog Theatre Co. Written and directed by Andrew Quick and Pete Brooks
WARDANCE [1988]
(Lumiere & Son Theatre Company) for large cast, satb and amplified ensemble. Site specific event commissioned by 1989 Nottingham Festival
KEYBOARD
IN MEMORIAM GAT AND BRODZSKY [2007]
for solo harpsichord first performed by Jane Chapman, Norwich Festival
MEINE LIEBE - DONIZETTI INTERVENTIONS [2006]
or two pianos, four hands
OUT OF GAT AND BRODSZKY [2008]
for solo piano. First performed by Adriana Minou, Goldsmiths, London
SOUNDING BOXES [2008]
for harpsichord and prepared piano first performed by Keynote+, Goldsmiths, London
OTHER
AFTER THE EVENT [1981]
soundtrack for 16mm film) dir. Karen Ingham First screened at Nottingham Film Workshop 1981.
HOT MILK MADONNA
ilm score. 3 minute film by Deborah Levy directed with Pia Borg. Screenings: Royal College of Art, ANIMAC 2010 Film Festival, LLerida, Spain, ARTELEKU, San Sebastian
IN PARADISE
(4-part series for BBC Radio 4) producer Noah Richler, 199
THE BRIDGE
Music for Halton’s ‘Our Town Story’, The Millennium Dome, Sept 2000
THE FACE
(music for radio documentary BBC Radio 3) producer Noah Richler, 1997
THE ONLY WINNER
(music video (dir. Steve Littman.) 1984
TIP TOP CONDITION
Music for version for TV Lumiere & Son Theatre Company (produced by After Image for Channel 4 TV) 1987Type your paragraph here.
Works List
"As layers of quasi-tonal figures build into big textures and impressive contrapuntal madness, only to subside into peaceful droning, the power and grace of the electric guitar becomes evident. This is the instrument like you’ve never heard it. Big and bold? Yes! But also expressive and nuanced." SPLENDID E-Zine
Centring on four voices tellingly woven together over subtly repetitive keyboard, string and brass arrangements, Jones's compositions use found texts - placenames from a gazetteer, navigational instructions from nautical almanacs - to focus his music's affecting musings on such weighty topics as identity, insecurity and isolation. Chris Parker, THE TIMES
Regular Music opens with an organ peal, whining oriental violins, chittering hi-hat; and bursts into a thunder of drums and pumping strings........."Idyllic Rhythms" is Peyton Jones' and the collection's strongest suit.....a punk alternative to the trance opera of Reich and Glass. Mark Sinker, The Wire
The music is the best sort of minimalism, the 'systems' technique bolstered with rising motifs, melodic resolutions and pounding rocky rhythms. This is an admirable and successful effort to develop experimental techniques acquired from major European practitioners and filtered through our own network of new theatre groups.
Michael Coveney, The Financial Times
Jeremy Peyton Jones
The real triumph was the score by Jeremy Peyton Jones, which blended the repetitive fragments of minimalism with a strong, muscular pulse. By intercutting this with repeated taped snatches of Berg's opera (Lulu), a vibrant contrast was created which heightened the theatrical effects; Peyton Jones' style is well away from the contemporary mainstream, but he has a powerful original vision which it may well prove difficult to ignore. The Musical Times
"..the pleasure of almost watching the clustering harmonics drift back down to earth, like a sonic meteor shower, was immense" Louise Gray, The Wire