Jonathan Harvey

In Quartet no. 3 there is a dialectic between a surface texture which is fleeting and fragmented and an underlying structure which is very strictly repetitive. A number of ‘themes’ (ten, or twenty whe...

Instrumentation: 3(=picc).2(II=ca).2(I=Ebcl.II=Ebcl+bcl).2(II=cbsn) – 4231 – perc(5): vib/glsp/lujon/mcas/xyl/coiled spring/mark tree/BD/tpl.bl/c.bell/mar/siz.cym/crot/gong/t.bells/guiro/4 oriental go...

Commissioned for the traditional service of Nine Lessons and Carols in King's College Cambridge on Christmas Eve, 1994. Harvey uses words by Bishop Taylor in a beautiful melody sung by one choir, acco...

Instrumentation: fl.picc(=fl).2 ob.2 cl(I=Ebcl.II=bcl).2 bsn – 2 hn Serenade was commissioned by Glyndebourne Festival Opera. Written to preface performances of The Magic Flute, my Serenade ends with...

This motet for unaccompanied SATB choir was written for the choir of Winchester Cathedral. An intimate work, full of rhythmic and harmonic subtlety, entirely shaped by the meaning of the words.

Forms of Emptiness is a work for mixed choir which sets words from the Buddhist Heart Sutra, in the original Sanskrit, and three poems by E.E. Cummings. The E.E. Cummings poems all have emphasis on th...

MARAHI is a hymn of adoration to the Divine Feminine in the form of the Virgin Mary and the buddhist Goddess Varahi. The divine love is envisaged as active in three realms: the angelic realm (major tr...