Written for soprano solo recorder viola da gamba and harpsichord.This little cantata was commissioned by Carl Dolmetsch and first performed by Elizabeth Harwood (soprano) Jeanne Dolmetsch (sopranino recorder) Marguerite Dolmetsch (viola da gamba) and Joseph Saxby (harpsichord) at the Wigmore Hall on 22 March 1979.

G. F. Handel's The King Shall Rejoice for SSAATBB (SATB) Chorus and Orchestra. Orchestral set of parts for 2 Oboes 1 Bassoon 3 Trumpets Timpani Strings and Continuo (Organ and/or Harpsichord).

Written for Counter-Tenor Cello and Harpsichord. Words by Swinburne with sentences from the Latin Requiem.

Quoting Nyman: This Concerto was composed during the winter of 1994/95 for Elisabeth Chojnacka who gave the first performance with the Michael Nyman String Orchestra on 29th April 1995 in the Queen Elizabeth Hall London. Itshistory is eccentric and cumulative. I had met Elisabeth in Paris about a year earlier while I was working on the soundtrack for Diane Kurys' film A la Folie (Six Days Six Nights). I was attempting to persuade her to play mysolo piece The Convertibility of Lute Strings (1992) but she expressed a passion only for tangos. As luck would have it one of the cues of the Kurys score was what I fondly called a tango. Elisabeth showed interest in this andI subsequently turned it in to a harpsichord solo. Sadly during the writing of the piece my friend the composer Tim Souster died tragically. Elisabeth's enthusiasm for Tango for Tim encouraged me to write the Concerto forher.The Concerto is shaped as a very simple ABA form - the outer sections derived from The Convertibility for Lute Strings enfold an elaborated version of Tango for Tim. After the first performance Elisabeth decreed thatthe true potential of the Concerto could only be fulfilled by the addition of a cadenza. This was duly composed in the summer of 1995 - a toccata derived from harmonies first heard in the immediate post-Tango for Tim Convertibility material. (Elisabeth subsequently ordained that the cadenza could also have a life outside the Concerto as a concert piece if it had a few extensions added. Hence - inevitably the title of the piece - ElisabethGets Her Way.Duration c. 22mins.

Cembal d'Amore - First Book - a suite for Piano and Harpsichord by Poul Ruders (1985-86)Dedicated to Amalie Malling and Lars Ulrik Mortensen.Prgramme Note:Cembal d'Amore is a five-movement suite for harpsichord and piano which works with the timbres of two very different-sounding instruments. The composer says that he ‘hears early music through the tears of centuries’. This moving formulation comes to expression in the work in the sense that the early music glitters so to speak as a poetically imaginative undertone through the highly contemporary structure. At one point the old music emerges so strongly in the sound-picture that it becomes quite tangible: a sarabande by Händel. Just as the external appearance of the instruments embodies the opposition between ancient and modern the work itself profiles a meticulously calculated tension between archaizing expression and contemporary construction

A cantata for soprano flute violin cello and harpsichord/celeste first performed in August 1970 at Dartington Hall Summer School by Mary Thomas and the Pierrot Players conducted by the composer.Duration c.12mins. Score(for Voice and Harpsichord) and parts (for Flute Violin and Cello).

Work for Recorder (or Flute) Violin Cello and Harpsichord (or Piano). Commissioned by Carl Dolmetsch.

For Soprano Solo Recorder Cello and Harpsichord. Words by Walt Whitman and James Dickey. Commissioned by the Legrand Ensemble.