Influences
The composer was first impressed by the music of Henry Purcell, having first sung many of his pieces as a choral scholar at Rochester. Nevertheless there seems to be very few instances of any influence of the earlier composer in Alun’s Work. The greatest and earlier influence is by far Shostakovich and to a lesser extent Prokofiev. The orchestra and chamber pieces are full of similarities to these composers. Despite spending many hours learning and playing piano pieces of Debussy, only “Prelude no 3” op 45 shows any influence of Debussy. Later on Alun took an interest in the work of Tippett and the contrapuntal textures and intellectual feel of many of the works come from this composer. There are many instances of modal passage in the music, especially in the choral music, which shows some influence of Ralph Vaughan Williams. Other composers of interest are William Mathias, Alun Hoddinott, Robert Simpson, Malcolm Arnold, Phillip Glass and Havergal Brian. Alun’s interest in music is not restricted to the classical world. Among the CD collection are albums by Ultravox, Depeche Mode, Heaven 17 and pride of place goes to the Pet Shop Dmitri Shostakovich
Boys. Certainly their quick change and colourful chord progressions
have similarities in many passages in Alun’s work.
The Symphonies
“Symphony no 1” op 44 was completed in 1991. This however was not the first that had been composed. Two others date from the juvenile period which ended up in the bin. Parts of the earlier second symphony ended up in “Sinfonia Suite” op 6 for piano. The first symphony is oddly scored for brass section, a large percussion body and strings. It lasts about 25 minutes. It is in five movements with the third being aleatorical, for which “Aquiline Games” op 39 was a fore runner. It also quotes “The Owl and the Pussycat” op 28 in the fourth movement.
In May 1997 “Symphony no 2” op 86 was completed. Unfortunately His sister, Judith died during the composition of this work which may go some way to explain the dark minimist section that dominates the central section of the work. It is in one long movement in ABCDAB form for string orchestra with divisions and a violin solo in the C section, the dark section. It lasts around 25 minutes. It is this symphony which quotes the theme tune from a 1980’s mini series called “Codename Cyril”, a typical of the time cold war spy programme on the television, in the B section. In the symphony, however, it is played in ¾ time and there are many counter themes around lt. The same theme makes an appearance in Praeludium 2 op 99. In 2004 the recitiative and passacaglia sections were rescored for solo violin and piano to become op 86a. In 2006 this symphony received some minor revisions.
This was followed in 1998 by “Symphony no 3” op 96. This began life as very short orchestral piece but it was developed and extended and re-orchestrated. It was further revised in 2001. Much of the musical material had been used in “Chasing Dreams” op 91 for clarinet, viola and piano and later in “In camera 10” op 113 for string quartet. This symphony is a very busy and discordant work with few let ups in the frantic music. It is in one movement with different sections, like the second, and lasts 15 minutes. In some respects it is a reflection of life at those times as a busy director of music.
Two years later came “Symphony no 4” op 116. Alun had no intention of writing another symphony when he began a short orchestral movement, later to become the scherzo, in the summer of 2000. Yet the work grew and around the scherzo the other three movements appeared. This work in some respects is Alun’s “Classical Symphony. It is scored for woodwind, two horns and strings, and is in four movements and lasts around 30 minutes. It was revised in 2005. The first movement is in the typical sonata form. The second is a pleasant A major scherzo that has more in common with a Mozart than a Shostakovich Scherzo, and uses some of the musical material of the third symphony. A slow and at times discordant movement follows. The final movement is the typical rondo finishing on a positive note.
Pet Shop Boys
The “in camera” series
This is a collection of 10 short chamber works composed between 1982 and 2000. They are abstract pieces exploring some traditional and different combinations. Some of the pieces in the series are musically linked.
“in camera 1” op 13 was composed in 1982, revised in 2005, and is scored for flute, clarinet, violin and cello. It lasts just over six minutes and is structured as a prelude followed by a scherzo. The musical material began life as part of a juvenile piece called “sinfonia brevis” which was a 20 minute work for chamber orchestra.
camera 2” op 18 was completed in 1985 and is scored for string quartet. It lasts 8 minutes. It begins with a slow introduction which leads into various sections which gradually become more agitated until the finally section which is a cello recitative broken by the other three players leading to a coda. The coda ends on a cliff-hanger, unresolved. The first performance was given by the Sine Nomine Quartet in September 1997.
“in camera 3” op 22 was completed in 1986 and was revised in 2004. Like the first in the series it is scored for flute, clarinet, violin and cello. It also lasts six minutes but is in a ternary form. The outer sections are dominated by serial material while the central section is very tonally in complete contrast.
Straight after the above “in camera 4” op 23 was completed very early in 1987. This is scored for trumpet, tuba and piano. It is in four short sections lasting some five minutes.
The advent choral work “et ex patre natum”op 24 separates “in camera 4” from “in camera 5” op 25, also completed in 1987. The fifth one is scored for violin, viola and cello and lasts about ten minutes. It is in several sections, some of which are measured, some of which are not. Overall the piece feels in rondo form with the unmeasured sections punctured by faster measured sections. The coda is a recitative, unmeasured with aleatoric sections for the violin.
“in camera 6” op 37 was completed in 1990 and is scored for string quartet. It lasts seven minutes and is in a basic ternary form. The music has a forward momentum of its own aiming for the recapitulation of the first section by way of the composer’s musical signature of the notes ADG. This was first performed by the Nero String quartet, in Portsmouth in December 2006. Some of the musical material was reused in “Castell Cilgerran” op 56 for chamber orchestra.
“in camera 7” op 47 was written at the request of a colleague in 1992. He wanted some pieces for two cellos only and this was the first. The other was “A Welsh Suite” op 49. Like the preceding in camera the seventh is in ternary form and has the title “Spring of Bandusia”. This title comes from one of Horace’s odes in his book three. The music tries to portray what the poet writes in his poem.
The next work in this series “in camera 8” Op 71 is a rescoring and revision of “in camera 7” for clarinet and piano and was completed in 1995. It is basically the same piece and was first performed by Robert Black and Karen Kingsley in February 2001. It has subsequentially been published by Phylloscopus Publications.
Four years later “in camera 9” op 104 was completed. It is scored for clarinet, violin and cello. It is in sonata form and lasts just under 15 minutes. Though the music ebbs and flows through the different sections, it does not always end up where it is expected to go. The first performance was given by the Farr Ensemble at the BMIC in November 2001.
The series concludes with “in camera 10” op 113 for string quartet, written in 2000. It is basically in a sonata form and lasts 15 minutes. This work is an arrangement of Symphony no 3 op 96 (1998). It is not an easy piece and the tension throughout the work is very noticeable.
Other Major Chamber works
“Songs of Gwenllian” op 57 for cello and piano
“Passing Silhouettes” op 77 for flute, oboe, clarinet and bassoon
“Chasing dreams” op 91 for clarinet, viola and piano
Brass Quintet op 129 for two trumpets, horn, trombone and tuba. 
There are three series of pieces included in Alun’s compositions. There are the symphonies, of which there are four at the moment. Some details of which are given above. There are the ten “in camera” pieces. This series has now come to a close. Finally there is the Praeludium series which is on going. Details of which are also below.
Gwenllian's memorial at Sempringham, Lincs
The Praeludium Series
This series of works began as a collection for schools and ensembles, but as time as gone on the idea has expanded to include a string and chamber orchestra. The aim has always been however to write short pieces which last no longer than six minutes. Accessibility has been important in this series. Only Praeludium 4 uses serialism. All of the others are firmly rooted in tonalism or modalism. The fifth one of the series has a title because it was written at the time of the start of the invasion of Iraqi in 2003, so the composer thought it was quite a suitable title.
Praeludium 1 op 64 (1994) for violin and piano,
First performed by Peter Whittle and the composer, July 1994
Praeludium 2 op 99 (1999) for flexible ensemble,
First performed by Eagle House School Orchestra, July 1999
Praeludium 3 op 117 (2000) for flexible ensemble,
First performed by Eagle House School Orchestra, July 2001
Praeludium 4 op 122 (2002) for four tuned instrument,
First performed by COMA members, Portsmouth July 2002
Praeludium in tempore belli (2003) op 127 for string orchestra,
Commended in the Oare composers competition 2003.
Praeludium 6 op 133 (2007) for chamber orchestra
First performed (workshop) by London Contemporary Chamber Orchestra, July 2008.
