ALAN BULLARD
ORCHESTRAL, CONCERTOS, etc
The piece you can hear is an extract from Aztec Genesis

orchestra
Aztec Genesis (2000)                                    
30 mins.
3/3/3/2sax/2  4/3/3/1  4perc  pno  strings
This colourful five-movement piece was inspired by the creation myths of the Aztec civilisation of Mexico. It was written during the millennium year for and first performed by the Colchester Institute Symphony Orchestra, conductor Christopher Phelps, at St Botolph's Church, Colchester on 6 April 2001.
'Skilful use of the orchestra produced some very dramatic effects' Essex County Standard
On hire from the composer

A Colchester Suite (1982)                                    
15 mins.
2222/21(2)0/2perc/str.
Colchester Youth Chamber Orchestra (conductor Nigel Hildreth) commission, first performed in Colchester, 3 June 1983: subsequently performed on Anglia TV.  Four movements depict aspects of life in Colchester past and present, with an optional short narration.
`A work of immediate appeal' - East Anglian Daily Times
On hire from the composer

Colne Valley Variations (2006)                                    
c.18 mins.
main orchestra: 2131/22/3perc/str
training orchestra: 4 parts: flexible instrumentation
Commissioned by the Colne Valley Youth Orchestra (conductor Nigel Hildreth) to celebrate its 25th anniversary, and first performed in Colchester, 17 September, 2006.  The first four movements alternate between the main orchestra and the training orchestra, and the final two movements combine them. The movements could be performed separately.
The second movement, Elegy, is a memorial to Angela Fussell, clarinet player and teacher, who died during the work's composition.
On hire from the composer

Fanfares for orchestra (1985)                                      
9 mins.
3(1+pic)3(1+ca)3(1+bcl)3(1+db)/4331/pno.timp.3pc./str.
A colourful showpiece for the full orchestra: first performed by the Colchester Institute Symphony Orchestra (conductor Christopher Phelps) Colchester, 29 November 1985
On hire from the composer

Fat Cat (1983) for narrator, orchestra, and audience               
15+ mins.
2(1+picc)222/2221/3perc/strs.  
An entertainment for children in which the audience are taught their (easy) parts on the day. Ipswich Orchestral Society (conductor Christopher Phelps) commission, with funds from Eastern Arts, first performed at Ipswich Corn Exchange, 4 March 1984
`All the right ingredients: a good vivid story, interesting orchestral effects, and audience participation' - Evening Star: `It sounded very funny but it was good fun' (Paul Bailey, age 6)
On hire from the composer

Harwich Hornpipe (2003) for symphony orchestra              
4-5 mins
3342/4/4/3/1/3perc/strs  
Commissioned by Essex Music Services, this overture celebrates the 400th anniversary of the granting of the Royal Charter to the port of Harwich. Based on a short motif derived from the letters of the town's name, it makes lively musical reference to the town's maritime history. First performed by the Essex Youth Orchestra, conductor Robin Browning, on January 3 2004, in St Nicholas' Church, Harwich
On hire from the composer

Lyric Overture (1976)                                              
8 mins.
2222/4230/timp.1perc./str.  
First performed by Ipswich Orchestral Society (conductor Christopher Phelps) 24 November 1979.
'an engaging work: rhythmic, bright and lively '- East Anglian Daily Times
On hire from the composer

Scherzo for Swinburne (1996)                              
5 mins.     
1111/2110/timp/str.
A lively movement based on a fragment from an overture by W H Swinburne (1907-1994) for many years a leading figure in Colchester's musical life. Commissioned by Colchester Orchestra as part of `Suite for Swinburne' - first performed Colchester Orchestra / Christopher Phelps, 20 April 1997 (the other movements are by W H Swinburne, John Dowding and Roy Teed)
On hire from the composer


Sinfonietta for brass, percussion, and strings (1987)  
13 mins.
0000/2200/timp.1or2perc./str.  
Commissioned by Colchester Chamber Orchestra with funds from Eastern Arts: first performance by Colchester Chamber Orchestra (conductor Christopher Phelps), 8 February 1988.          
`full of colour and interest' - East Anglian Daily Times
On hire from the composer

concertos

 Concerto for Recorder and Strings
Written for and first performed by John Turner, this work uses four different recorders, tenor, treble, descant and sopranino. The lively first movement is followed by a sorrowful and expressive lament, and the finale is a passacaglia which eventually returns to a triumphant restatement of the opening material, during which the soloist plays all four instruments in turn.
PEACOCK PRESS (recorder and piano) - string parts on hire
c. 10 mins     

Solitary City for horn and string orchestra (1997)     
 c. 10 mins
Commissioned by Colchester New Music for Clare Hutchings and the Guildhall String Ensemble
 On hire from the composer

Recipes for descant recorder and string orchestra (or string quartet) (1989/98)     
10 mins Grade 4-7
First performance of this version, Chester, 1998
1.Coffee and Croissants  2.Barbecue Blues  3.Prawn Paella  4.Special Chop Suey  5.Fish and Chips                                  
FORSYTH (material on hire)
Recorded on the CD `English Recorder Music' performed by John Turner (recorders) and the strings of the Royal Ballet Sinfonia, conducted by Gavin Sutherland
OLYMPIA OCD 667
`the cookbook of recipes prepared by Bullard certainly titillates the palette…an extremely enjoyable and recommendable disc' - Ivan March, Gramophone


Two hands to the pipe for clarinet and string orchestra  (1995)
10 mins.
Commissioned by Antonia Mott and St Botolph's Music Society (conductor Colin Nicholson) with help from the Hervey Benham Trust  
First performance St Botolph's Church, Colchester, 1 July 1995, Antonia Mott, SBMS/Nicholson
A fantasia based on a Hebridean folk-song, also available for clarinet and piano
`An uncompromising but entertaining piece, combining sustained lyricism with exciting virtuosity' - Alan Parsons, Essex County Standard
On hire from the composer


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