Music for Children



That Man Stephen Ward, Op.8 (2006-7)

for male singer, 3 dancers (silent – optional), 6 players
fl (+alto/picc), cl (+bass cl), perc (1 player), piano (+electronic keyboard & harpsichord), violin, cello
Libretto: David Norris (Eng)
Duration: 65 minutes
Commissioned by the Hampstead & Highgate Festival with support from
The Harold Hyam Wingate Foundation and The Hinrichsen Foundation
FP: 11 May 2008, University College School, Hampstead, London,
Andrew Slater (baritone), Yvonne Fontane (director), Hampstead & Highgate Festival Ensemble / George Vass
‘... a score that deftly conjures up the songs and dances of the era, but also has an apt, brittle edge ...'
Richard Morrison, The Times (7 July 2015)

'… a score which was certainly alive in its own way to possibilities of humour, and which responded to Norris’s
deft verse with parodies of Handel and of Finzi. This serviceable furniture, and references to cabaret and 1950s
popular music, was used adroitly, like the actual armchair and sofa reshuffled between scenes in Yvonne Fontane’s
effective production…Though it may be too early to announce a new theatrical talent, Hyde in the meantime is
certainly one to be watched.’
Nicholas Williams, Opera (July 2008)
‘I was most intrigued to see how his meticulous, rather academic, but always accessible style would adapt to such
a change of direction, but his sheer vigour and intrinsic sense of drama won the day … Thomas Hyde clearly has
dramatic as well as musical potential, and his work drew a full-house, enthusiastic audience.’
Jill Barlow, Tempo (January 2009)
‘… adventurous, both in subject and treatment … As a performance, That Man Stephen Ward was engrossing. As a
liaison between modernist and traditional, conversational and lyrical, inner and outer, comic and serious, the
individual and the world (background news items cover the Cuban missile crisis, relevant to two of Ward’s
contacts – Profumo and Ivanov), acting and singing, it is commendably exploratory.’
Kenneth Carter, Classical Source (2008)
‘… a quirky, clever score … with a promising grasp of what it takes to make music-theatre work … With a modest
but punchy chamber ensemble conducted by George Vass, it turned small history into surprisingly large
musical gestures.'
Michael White, Opera Now (September 2008)
‘Society scandal – when low life meets high life – is compelling news and, in Thomas Hyde’s first stage work,
compelling opera too … In this debut theatre-piece Hyde’s musical skills found an ideal vehicle in David Norris’s
efficient libretto – but also in bass-baritone Andrew Slater’s accomplished performance ... Hyde's score was
effective stage music and a sign of promising things to come.'
The Ham & High (May 2008)   




Sinfonia minuscola, Op.1 (1999)
for chamber orchestra
1(+picc).1.1.1-1000-strings (64442)
Duration: 9 minutes
Commissioned by the Lucille Graham Trust
FP: 10 October 1999, Duke’s Hall, Royal Academy of Music, London
RAM Students / Ludovic Morlot
 'Thomas Hyde's 'miniscule' symphony is an impressive miniature - its three movements lasting around
10 minutes in total - which deserves wide exposure: attractive, yet modern, it is a real symphony, in that the
composer subtly
inverts the first movement material in the finale, thus binding the piece together admirably ...
this 12 year-old work came across as fresh as paint in this exemplary performance.'
Robert Matthew-Walker, Classical Source (June 2011)
Les at Leisure: A Comedy Overture, Op.18 (2016)
for symphony orchestra
3(3= pic).2.2.2. – – timp – perc(2 players): bass drum/sus.cymb/
triangle/vibraslap/Chinese temple blocks/xylophone/snare drum/
2 tambourines/2 pairs of cymbals/hornophone (optional)
– harp – strings
Duration: 6 minutes
FP: 13 July 2018, Lichfield Cathedral
BBC National Orchestra of Wales / Dalia Stasevska
'Hyde has written a worthy tribute to an ireeplaceable comic talent. Light-hearted comedy overtures have
a strong tradition in British orchestral music ... Hyde's overture joins their select but cheerishable
number with its uproarious character and unabashed emphasis on orchestral colour and melody.'
Musical Opinion Quarterly (April 2019)

Lovely Joan (2017)
for string orchestra
Theme and 'Tema Elaborata' for a series of variations composed by
Sally Beamish, Michael Berkeley, Christopher Gunning, David Matthews,
Matthew Taylor, Huw Watkins and Adrian Williams
Commissioned by the Presteigne Festival of Music & the Arts
FP: 25 August 2017, St Andrew's Church, Presteigne
Presteigne Festival Orchestra / George Vass
Published by Music Haven

Symphony, Op.20 (2017)
pic.2.2.corA.3.3- (2 players): bass drum/sus.cymb/
triangle/vibraslap/snare drum/hi-hat/whip/tambourine/2 congas/
2 bongos-harp-strings
Duration: 20 minutes
FP: 10 March 2018, City Halls, Glasgow
BBC Scottish Symphony Orchestra / Geoffrey Paterson

'... driven by a gravitational relevance and personal belief.' The Scotsman, March 2018

'... Thomas Hyde's Symphony was a world premiere and the most immediately arresting
of the evening's pieces, its drama punctuated by congas and bongos, glissando trombones
and some highly original writing for the strings'
The Herald, March 2018

'Overriding any such embracing of the symphonic heritage, however, was a refreshing individuality that is the mark of

a fully-fledged creative artist ... In its breezy ecclecticism, Hyde's new Symphony ranges, hawk-like, over the entire symphonic tradition and

reinvigorates it with a refreshingly quirkly approach to structure and notably limpid, uncluttered textures. There was a distinct feeling that

the audience was witnessing the confident and ground-preparing first in a cycle rather than a one-off experiment.'

Paul Conway, Musical Opinion Quarterly, July 2018

Paraphrases (on six lieder of Richard Strauss), Op.2 (2000)
for eight cellos
Duration: 12 minutes
Commissioned by the Royal Academy of Music for their ‘Part in Profile’ Festival 2000
FP: 28 March 2000, Royal Academy of Music, London
RAM Cellists / Edward Gardner
Lachrimae Amantis (2001)
for flute, clarinet, harp and string quartet
Duration: 6 minutes
FP: 20 June 2001, Christ Church, Spitalfields Festival, London
Manson Ensemble / Simon Bainbridge
Autumnal, Op.5 (2003)
concertino for viola and ensemble of 4 players
Duration: 15 minutes
Commissioned by the Little Missenden Festival with funding provided by the
Arts Council England
and the Festival Friends
FP: 12 October 2003, Little Missenden Festival
Edward Vanderspar (viola), Eliza Marshall (flute), Catriona Scott (clarinet), Ruth Potter (harp),
Katherine Jenkinson (cello)

'Hyde's sensuous, lyrical writing for the solo instrument was given full rein in Vanderspar's gripping performance,
buoyed up by the rich, luminous textures from the other instrumentalists, which would as suddenly lighten into beautiful
soloistic moments. The structure of the work, too, draws the listener in - the music begins in full energy but gradually
unwinds to an exquisite stillness, though not before a potent viola cadenza, charted with nimble-fingered finesse by Vanderspar.' 
Catherine Nelson, The Strad (February 2004)

 '... despite its being inspired by the colours of autumn leaves in New England, the music has a restless quality in which
its very fragmentation somehow magically coalesces into a cohesive shape.'
Fanfare Magazine [USA] (August 2013)

String Quartet, Op.10 (2009-10)
Duration: 20 minutes
Commissioned for the Allegri Quartet by the London Chamber Music Society
with funding provided by the John S Cohen Foundation 
FP: 28 February 2010, King's Place, London, Allegri String Quartet
‘... surely Hyde's most significant piece to date. Here the two movements counteract each other in an
almost  dialectical process: the intial Allegro, with crescendoing chords that permeate its tensile
course through to the heightened coda, followed by a Lento which - at twice the length - builds
through a series of ever more animated paragraphs to an eloquent climax, before yielding
to a coda whose repose is the tangible destination of the
whole work.
Richard Whitehouse, International Record Review (December 2012)
‘The first movement, with its striking designation 'Agitato - Andante con brio' is Hyde at his best,
what he terms 'a storm scene' that settles down into an eloquent melody the more
effective for its brevity. The second movement is more than twice as long, and involves stronger
contrasts in an ambitious attempt to balance questing deliberation against energetic
aspiration ... it charts an unusually wide-ranging trajectory and ends with tellingly heartfelt restraint
Arnold Whittall, Tempo (July 2013)
‘The material is quite dense in places, patterns constantly shifting, and Hyde is not afraid to employ
twelve tone procedures. Terse clipped cells slowly relax into more obviously lyrical textures
and paragraphs: whilst Schoenberg may be a solid port of call, I sensed also a deep admiration
for Bartokian texture, rhythm and colour. It's a fine work.’ 
Jonathan Woolf, Musicweb International (January 2013)

' ... a substantial work that makes imaginative use of delicate string quartet textures and draws its formal sense from
the interplay between atonal and tonal techniques, creating a fascinatingly robust but subtle kind of dynamism.
The Maxwells gave a clear and impassioned reading of the work, which remained alive to the score's delicate
lyricism and need for metrical control.'
Guy Dammann, The Guardian (7 January 2015)

'... the Maxwell Quartet encapsulated the emotional turbulence of the music most effectively.'
The Strad (April 2015)

Piano Trio:
 after Picasso, Op.11 (2010-16)
 for violin, cello and piano
1. Three Dancers (2005)  2. Hidden Portrait (2010)  3. Mechanical Galliard (2016)
Duration: 16 minutes
Nos.1-2 commissioned by Music at Duffield with funding provided
by the RVW Trust and the Britten-Pears Foundation
FP (No.1): 15 October 2005, Ecclesbourne Centre, Duffield, Rautio Piano Trio
F(London)P (No.1): 10 January 2007, Park Lane Group New Year Series, Purcell Room, London, Rautio Piano Trio
FP (complete): 13 March 2016, Kings Place, Aquinas Piano Trio
NB: 'Three Dancers' may also be performed separately
Published by Composer's Edition
‘… engaging, tonal and quirky, with the hint of a tango.’ Kenneth Carter, Classical Source (2007)
‘The idiom is concentrated and demonstrates the commposer's skilful and subtle exploitation of 
texture and colour ... The rhythmic asymmetries and contrapuntal energy of the final movement - Hyde
acknowledges the influence of Stravinsky - were invigorating and bright-toned.’ 
Claire Seymour, Seen & Heard International (March 2016) 
Serenade in A, Op.16 (2014)
for ten instruments (or small orchestra)
Commissioned by private patrons with financial assistance from
the Royal Academy of Music and the RVW Trust
FP: 14 March 2015, Royal Academy of Music, Junior RAM Ensemble / Matthew Taylor
Published by Composer's Edition

Draw on, sweet night (2000)
for solo harp
Duration: 6 minutes
FP: 24 November 2000, Duke’s Hall, Royal Academy of Music, London, Ruth Potter
Second Suite for Solo Cello, Op.3 (2001-02)
for unaccompanied cello
Duration: 16 minutes
FP: 19 February 2002, Royal Academy of Music, London, Katherine Jenkinson
Published by Composer's Edition
‘... its pithy overall sequence (apparently made even more so in a 2011 revision), in which three
pairs of movements are marked off by brief interludes, deftly elides between the succession
of dance-types found in
the Baroque format and an overarching accumulation of
activity which endows the whole with a seamless momentum.
Richard Whitehouse, International Record Review (December 2012)
‘Those who know Britten's first two cello suites are likely to hear echoes, not least 
because Hyde's technical deftness - he really understands instruments - involves a
 not un-Brittenish flair for turning those inescapable cello cliches to good use.
Arnold Whittall, Tempo (July 2013)
Winter Music, Op.6 (2004)
for cor anglais (or cello) and piano
Duration: 5 minutes
Commissioned by Music Past & Present
FP: 13 February 2005, Jacksons Lane Community Centre, Highgate, London
Emma Feilding (cor anglais), Martin Cousin (piano)
Published by Composer's Edition

Violin Sonata, Op.14 (2011-12)
for violin and piano
Duration: 18 minutes
Commissioned by an anonymous patron
FP: 3 October 2014, Little Missenden Festival
Jennifer Pike (violin), Tom Poster (piano)
Praeludium (1996)
for organ
Duration: 12 minutes
FP: 28 February 1998, Exeter College Chapel, Oxford, Norman Harper
F(US)P: 28 March 1999, National Cathedral, Washington DC, Norman Harper
‘Praeludium, written for this recording in the composer’s 18th year shows great promise, multisectioned but
unified by the Pange Lingua theme. Colourfully dissonant writing shows a true ear for composition …’
The Organ (February 2001) 
Suite on Plainchant Themes, Op.12 (2005-11) 
for organ
Duration: 16 minutes
1. Improvisation on 'Puer natus' (2010)
Commissioned for the BBC/EBU Christmas broadcast
FP: 19 December 2010, St Paul's Church, Knightsbridge, London, Stephen Farr
2. Lucis Creator (2005)
Commissioned by Norman Harper
FP: 22 October 2005, Chapel of King's College, Cambridge, Norman Harper
3. Easter Alleluyas (2011)
Commissioned by the London Festival of Contemporary Church Music
FP: 11 May 2011, St Pancras Church, London, Leon Charles
‘Organist Stephen Farr is given the chance to shine both as soloist and accompanist. The premiere
recording of Thomas Hyde's 'Improvisation on Puer natus' sees him bring out the
subtleties of the music through changes of register and and his formidable technique.
The Cherwell (November 2012)
Nocturnes, Op.7 (2006)
for piano
Duration: 8 minutes
Commissioned by the Presteigne Festival of Music & the Arts
FP: 28 August 2006, St Andrew's Church, Presteigne, Evelina Puzaite
Published by Composer's Edition

'These three pieces, which get progressively shorter in a 3:2:1 ratio, conjured the impression of a feverish
mind aspiring to sleep but continuing to juggle notes ... Evelina Puzaite delivered them with conviction.' 
Rhian Evans, Musical Opinion (November 2006) 
A Little Invocation (2006)
for organ
Duration: 3 minutes
Commissioned by Choir & Organ Magazine
FP: 31 March 2007, Rosslyn Hill Chapel, Hampstead, London, William Whitehead

Hast du denn, Jesu, dein Angesicht (2012)
for organ
Duration: 2 minutes
Commissioned by the Orgelbüchlein Project
FP: 18 October 2012, Festival Toulouse les Orgues, France, William Whitehead
An Anniversary (2002)
for soprano and piano
Text: Andrew Motion (Eng)
Duration: 3 minutes
Commissioned by The Association of English Singers and Speakers
FP: 24 February 2002, Royal Overseas League, London
Katherine Bond (soprano), Matthew Rickard (piano)
Three Larkin Settings, Op.4 (2003)
for voice and piano
Text: Philip Larkin (Eng)
Duration: 4 minutes
FP: 28 August 2003, Merton Abbey Mills, London
Anna Flannagan (soprano), Gemma Hitchen (piano)
Two Hardy Songs (2010)
for voice and piano
Text: Thomas Hardy (Eng)
Duration: 3 minutes

Three Greek Women, Observed, Op.9 (2008-13)
for soprano, harp, and 5 players (flute, clarinet, violin, viola, cello)
Text: Ted Hughes (Eng)
Duration: 15 minutes
Commissioned by the Presteigne Festival of Music & the Arts
with funding from the Arts Council of Wales
FP: 26 August 2013, St Andrew's Church, Presteigne
Helen-Jane Howells (soprano), Presteigne Festival Players
Watch Video Extract
There Is No Rose (1993)
for unaccompanied SATB choir
Text: Anon. 15th century (Eng)
Duration: 4 minutes
FP: 20 December 1993, St Peter’s Church Streatham, London
O Sing a New Song (2001)
for trebles and organ
Text: Psalm 98, vv.1,4,8. (Eng)
Duration: 5 minutes
Commissioned by the St Paul’s Cathedral Choir School Foundation
FP: 4 July 2001, St Paul’s Cathedral, as part of the City of London Festival
Choristers of St Paul’s Cathedral / Huw Williams (organ) / John Scott
O nata lux (2002)
for unaccompanied SATB choir
Text: Hymn for Lauds on the Feast of the Transfiguration (Latin)
Duration: 8 minutes
FP: 30 November 2002, Keble College Chapel, Oxford, Commotio / Matthew Berry

Sweet was the Song (2003)
for unaccompanied SATB choir
Text: William Ballet (MS Lute Book, early 17 century, Trinity College, Dublin) (Eng)
Duration: 3 minutes
Commissioned by the Hampstead Chamber Choir
FP: 17 December 2003, Emmanuel Church, Hampstead, London
Hampstead Chamber Choir / Eamonn Dougan
Published by
Novello & Company Ltd.

 'Uses gratifyingly limited vocal ranges and creates its lilting effect through subtly undulating metre.'
Jeremy Summerly, Choir & Organ (January 2012) 
'... among the more attractive carols of recent years.'
Marc Rochester, Gramophone (December 2012)
As a lily among thorns (2004)
for unaccompanied SATB choir
Text: Song of Songs, chapter 2, verses 2-3 & 6 (Eng)
Duration: 3 minutes
Commissioned by Katie Johnston and John Hillier on the occasion of their marriage
FP: 20 March 2004, Christ Church Cathedral, Oxford, Members of Commotio
Published by 
Novello & Company Ltd.
‘It would make a pleasing alternative to settings of Set me as a seal by Walton and others, for a discerning,
musical couple planning their nuptials ...' 
Alan Spedding, Organist's Review (March 2012) 

'... it's three verses from the Song of Songs contain nothing to which the Sufi mystic or indeed total
non-believer could not assent. The music is unexpectedly dramatic and arresting.'
Church Music Quarterly (2012)

 The St Philip’s Service (2008)
for unison voices (congregation) and organ
Duration: 3 minutes
Commissioned for the 25th anniversary of the concecration of St Philip the Apostle, Sydenham
FP: 14 September 2008, St Philip the Apostle Church, Sydenham
Tomorrow shall be my dancing day (2009, rev.2015)
for SSA choir and organ
Text: Trad. (Eng)
Duration: 3 minutes
Commissioned by Downe House School
FP: 10 December 2009, St Nicholas Church, Newbury, Choir of Downe House School
Published by Cadenza Music

Three Anthems, Op.15 (2013-17)
for SATB choir and organ
1. May the Grace of Christ Our Saviour
Text: John Newton (1725-1807)
Duration: 4 minutes
Commissioned by St Mary's Cathedral, Middlesbrough
FP: 22 November 2013, St Wilfrid's Catholic Church, York
Middlesbrough Diocesan Choir / Timothy Craig Harrison
2. I appointed you to go and bear fruit
Text: John 15:16 & words attrib. St Francis of Assisi
Duration: 3 minutes
Commissioned by the Parishioners of Flamstead and Markyate
FP: 7 September 2014, Parishioners of Flamstead and Markyate Churches
3. Grant us thy Light, O Lord
Commissioned by Worcester College, Oxford
FP: 4 June 2018, Worcester College Chapel Choir, Oxford

Orpheus with his lute (2015)
for unaccompanied SATB choir
Text: William Shakespeare (Henry VIII, 3.1.4-15)
Duration: 2 minutes
Commissioned by the John Armitage Memorial in memory of John McCabe 
FP: 28 June 2015, St Mary of Charity, Faversham,
City of Canterbury Chamber Choir / George Vass
Published by Novello & Company Ltd.

'Hyde priorities communication of the text in a direct manner and the work is only two minutes long,
but here the style is a perfect recreation of the mid/late 20th century English partsong'

Geoffrey Webber, Choir & Organ Magazine (August 2016)

O: The Antiphons of Advent, Op.17 (2015)
for SATB choir (with soprano and bass soli), organ and dancers
Text: Magnificat Antiphons for Advent (in Latin)
Duration: 28 minutes
Commissioned by St Paul's Church, Knightsbridge
FP: 29 November 2015, St Paul's Church Knightsbridge
Clare McCaldin (mezzo soprano), Cheyney Kent (bass), Hubert Essakow (choreographer),
Choir of St Paul's Church, Knightsbirdge / Stephen Farr
Published by Composer's Edition

All This Time (2016)
Carol for unaccompanied SATB choir
Duration: 2 minutes

Magnificat, Op.19 (2017)
for unaccompanied SATB choir
Duration: 7 minutes
Commissioned by the Concertgebouw Brugge
FP 29 November 2017, Concertgebouw Brugge
The Sixteen / Eamonn Dougan 

 A Pocket Snake and Ladder (2005)
for piano
Commissioned for Kate Dixon’s Music Postcards Project
FP: 1 September 2005, Royal Northern College of Music, Manchester, Kate Dixon
'This piece is surely a reminder to us all that we must continue to challenge our preconceptions of music and, used
in the teaching context, is perhaps an opening to discussion on these ideas. I've also discovered in teaching this
Postcard that the use of rolling a dice to practice things means the more mundane tasks are more likely to ge done.' 
Piano Professional (January 2005)
'Perhaps inspired by Mozart's penchant for dice games, the performer of Thomas Hyde's 'A Pocket Snake and Ladder'
must throw the dice to produce six numbers and then follow the snakey path until the end of the piece,
which terminates with the piano-lid shut when finished.'
Nancy Lee Haper, Piano Journal (Winter 2005)
The Cruel Mother (1996)
folksong arrangement for violin, viola, clarinet, horn and bassoon
Duration: 3 minutes
FP: 10 September 1996, Hoy Kirk, Orkney Islands
Members of the Scottish Chamber Orchestra
Three Carol Preludes (2002)
 for string orchestra
 1. God Rest You Merry Gentlemen
2. The Coventry Carol
3. Resonet in laudibus
 Duration: 7 minutes
 FP: 14 December 2003, St Bartholomew's Church, Sydenham
Orchestra of St Bartholomew / Robert Trory
Drakeford Variations (2011)
theme and four variations on a theme of Richard Drakeford
for piano, violin, viola, cello and double bass
(collaboration with David Matthews)
Duration: 3 minutes
FP: 9 October 2011, Little Missenden Festival, Schubert Ensemble




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