| 005001 | Vocibus Mulierum - Women's Voices | 20' | F |
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| Choir: SSAATTBB + Mezzo-Soprano Solo |
| 'I decline the honour of being an Angel' |
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| The cantata sets Latin texts from the Roman Missal alongside English words from a Victorian child-rearing manual, texts by the author and extracts from the writings of Maria Deraisnes (the French nineteenth century Feminist). The cantata explores the historical relationship between the Church and women. It contrasts the idealised ecclesiastical view of womankind, as epitomised by the Virgin Mary, with various historical views of women and sexuality. The movements consist of a dialogue between the choir, expressing the views of the church and the soloists expressing the views of women, culminating in the mezzo-soprano soloist and female chorus echoing Maria Deraisnes words "I decline the honour of being an angel. No-one has the right to force me to be both dupe and victim
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| 005002 | Regina Coeli - Queen of Heaven | 20' | F |
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| Choir: SSAATTBB + Mezzo-Soprano Solo |
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| A cycle of Latin Hymns to the Blessed Virgin Mary for Mixed Chorus and Solo Mezzo-Soprano
A Latin version of the Cantata Vocibus Mulierum
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| 005004 | The Young Man and Death - A Dialogue (vocal score) | 25' | J |
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| Choir: SATB and Wind Octet (2 Clarinets, 2 Oboes, 2 Horns and 2 Bassoons) |
| 'I am a friend and do not come to punish you, you will sleep sweetly in my arms.' |
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| | First Dialogue - Preludium |
| | First Chorale |
| | Second Dialogue - Denial |
| | Second Chorale |
| | Third Dialogue - Anger |
| | Third Chorale |
| | Fourth Dialogue - Bargaining |
| | Fourth Chorale |
| | Fifth Dialogue - Depression |
| | Fifth Chorale |
| | Sixth Dialogue Acceptance |
| | Sixth Chorale |
| | Final Chorus |
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| Cantata for Choir and Wind Octet based on the poetry of Rabindranath Tagore,
in the form of a dialogue between Death and a dying man as he gradually comes to a form of acceptance.
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| 005005 | Here be Angels (choral part only) | 15' | F |
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| Choir: SSAATTBB with Organ Continuo (Ad Lib)
Commissioned by the Crouch End Festival Chorus |
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| Setting words from a wide range of sources, this motet/cantata explores medieval attitues to angels, with descriptions of the heavenly hierarchy from De Celestia Hierarchia,
the controversy over how many angels could stand on the head of a pin, the lists of angels' names from The Book of Enoch and Milton's descripton of Satan and the Rebel Angels
The Libretto for the final movement, 'The Rebel Angels', the composer's adaption of passages from Milton's Paradise Lost, was published in the poetry magazine 'This Is'.
'Hugill's inventive Here be Angels' - Rick Jones, London Evening Standard, March 1998
programme note
reviews
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| 005005 | Here be Angels (full score) | 15' | I |
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| 005006 | Jacob and the Angel - A Nocturne (vocal score) | 14' | G |
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| Choir: SATB and String Orchestra (Solo Violin and 5-part ensemble) |
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| An exploration of the rather curious story from Genesis in which Jacob spends a whole night wrestling with an Angel.
When the Angel does not prevail in the wrestling, he renames Jacob and calls in Israel.
programme note
listen - third movement
listen - fifth movement (excerpt)
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| 005006 | Jacob and the Angel - A Nocturne (full score) | 14' | I |
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| 005007 | The Barbarian at the Gate | 25' |
| Choir: S(S)AT(T)B and Three Trumpets |
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| | 1. | Lament for Troy | words |
| | 2. | Lament for Aquilea Destroyed, and Never to be Built Again | words |
| | 3. | On the Killing at Lindisfarne | words |
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| Settings of three of Helen Waddell's haunting translations from medieval Latin, evoking the distant worlds of mythical Troy captured by the Greeks, Roman Aquilea destroyed by Attila the Hun and Saxon Lindisfarne invaded by marauding Vikings.
The fanfare The Barbarians are Coming uses themes from the cantata.
programme note |
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| 005009 | The Testament of Dr. Cranmer | 12' | F |
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| Choir: SATB |
| words |
| A setting of extracts from Thomas Cranmer's final speech, just before his execution, evoking his final moments and reiterating Cranmer's
commitment to a reformed Protestant Church. Performed by the Eight:Fifteen Vocal Ensemble, conductor Paul Brough, at the University Church, Oxford, as part of
the commemoration of the 450th anniversary of Cranmer's execution
programme note
music
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| 005010 | The Magi | 12' 15 | E |
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| Choir: SSAATTBB |
| words |
| Using extracts from the sermon by Lancelot Andrewes, which inspired W.H.Auden, this 3-movement work uses bi-tonality to evoke the descriptions of the Magi.
music
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