As of March 2013 all of my instrumental, chamber and orchestral works are available to purchase through Arcomis. Here full scores, digital downloads and full sets of parts are available. Check out my works by visiting here.
There was a nice review in the St Andrews Citizen of the recent JAM concerts and my piece The Hazel Wood. Here they stated ‘A striking response to a dramatic and poignant text, the composer found a wonderfully rich palette of choral and instrumental sounds, particularly in his imaginative use of the brass quintet.’ That was nice. In a review for the university, Alan Cooper stated ‘Choir, organ and the Red Note Brass Quintet were the forces used in The Hazel Wood. A throbbing heartbeat on organ pedals was later echoed by the brass. Once again a soprano soloist was featured most beautifully above, at one point, a floating cloud of female voices and as in Cooke’s previous work, trumpets featured strongly. What impressed me most though was the way in which tonal textures of choir, organ and brass were managed in such a way that they could be merged perfectly together when required. The sounds of choir, organ and brass are a classic combination and Phillip Cooke’s work defined the blend as special.’ That was also nice. PAC
After three fantastic concerts in St Andrews, Edinburgh and Aberdeen it was nice to have a positive review in The Herald. Here they stated, ‘A compelling rendition of Phillip Cooke’s evocative The Hazel Wood.’ Not a lot, but positive nonetheless. The full review can be read here.
There is a nice feature on me in the local Aberdeen newspaper, the Aberdeen Press & Journal. There is also (as you can see) an obligatory ‘composer with manuscript’ picture, which features an amazing cameo from my forehead. The article can be viewed here in a short form, you’d have to buy the newspaper or download the e-version to read the whole article.
I was recently alerted to this short article on the forthcoming JAM concerts in Scotland in the local St Andrews newspaper (not sure what it is called). I especially like the ‘distinguished composer’ bit (click on the picture to enlarge). There is also a preview of the concerts in The Herald that can be read here.
My work Invocation (2010) was broadcast on BBC Radio 3 The Choir last night (30/09/12) in a performance given by the combined choirs of Aberdeen, Edinburgh and St Andrews Universities, Clare Seaton (soprano) and Pure Brass, conducted by Michael Bawtree. The programme featured an interview with JAM chairman Ed Armitage, and lots of music by Stanford (if you like that sort of thing). Invocation begins at 1.11 of the broadcast and will be available to listen to on the BBC iPlayer until Sunday 07 October. To follow a link, click here.
On the off chance that anyone was trying to access my website between the 23-29 July you may have noticed that it wasn’t working – I forgot to renew the domain name whilst away on holiday. Apologies if you were trying to access any information about me and my work. PAC
My short work for solo flute, Hafren (2008) has been published in a recent compendium of solo flute pieces The Arcomis Flute Album which features 18 new works, some of which were premiered at last year’s Arcomis Flute Event. Alongside my work there are pieces by Phillip Neil Martin, Jane Stanley, Elizabeth Winters and Adrian Hull (amongst many others). For information on the album and how to purchase a copy visit here.
I recently found a nice review in the Church Times of the Arcadian Singers concert in Oxford in March, the concert featured first performances of two part-songs of mine I Stood on a Tower (2008) and How Clear, How Lovely (2010). In the review it states, “Phillip Cooke, Thomas Chevis, and Alexander Campkin are young composers of substance: their approach is largely tonal, but the tonality is richly extended and vitalised by a range of added-note chords. They are aware of the era that they belong to, but not unduly diverted by it.” It then states, “Cooke, who possibly fared best…achieved a real wanness and tangible poignancy later in Tennyson’s I stood at the tower. “A 21st-century take on the partsong”, the composer dubbed this and the ensuing rare Housman, How clear, how lovely.” Cheers.
I just read another nice review of Invocation in this month’s Organists’ Review. Alan Spedding refers to the piece as ‘a dreamlike setting…dripping with nostalgia’ and concludes by stating ‘a beautifully atmospheric piece’. Which was nice.