Decensus Christi ad Infernos

This 7 movement oratorio

1. Crucifixus

2. Recitative- Veri Filius Dei erat iste.

3. Portae Inferi

4. Inferno

5. Recitative- Awake, Sleepers

6. Nunc Dimitis

7. Gloria Patri

 

Descensus Christi Ad Inferos by Stephen Frith

This work is both sacred and deeply personal in nature. It depicts Christ’s descent into Hell, beginning with the Crucifixion and concluding with the Rising of the Saints, while also serving as a reflection on my own religious upbringing. Musically, it draws upon influences from plainsong and the English choral tradition. The text of Movement I is taken from a Gaelic poem and is presented in English, reflecting the personal character of this opening meditation. Movement II sets words from the Gospel of Matthew, in which the Narrator recounts the events of Good Friday. This movement is sung in Latin, distinguishing it as sacred. In contrast, the texts of Movements III and IV are adapted from Dante’s Inferno. These movements are intended not to advance the narrative, to evoke the dread and desolation of Hell before the Harrowing. Movement V combines my own words with passages from scripture as the saints come forward to greet Christ and are released from their captivity. The final two movements present the deeply affecting Song of Simeon, followed, as tradition dictates, by the Gloria Patri. The words of the Nunc Dimittis poignantly encapsulate the message of the entire oratorio and stand among the most beautiful in all Christendom:

“Lord, now lettest thou thy servant depart in peace, according to thy word. For mine eyes have seen thy salvation”

 

 Clips from the June 2026 Performance in Stoller Hall can be found on my Instagram

 

 

Horn Suite

This 6-movement suite was written for acclaimed young horn player, Jacob Adams.

1. Toccata

2. Bouree

3. Allemande

4. Siciliano

5. Sarabande

6. Gigue

The first incarnation of the first movement can be found on my Soundcloud but we are planning to record the whole thing within the next few months, especially as Toccata has been extensively reworked since the first recording.

More information can be found on my Blog post

 

 

Fantasia

This five-minute piece draws on the inspiration of Shostakovich at his most sarcastic. It contrasts furious atonality with cheeky consonance, using parallel major chords and whole tone scales to create tongue-in cheek brightness.

When asked to write this piece, I endeavoured to make something that was fulfilling to play whilst feeling fresh. I also waived all usual caution surrounding youth ensembles because of the surpassing ability of the string players from Barratt Due. 

It was recorded in concert, and I am currently waiting on the upload.

More information can be found on my Blog post

 

 

Mountain Breeze

This was a competition-winning work, in the annual competition held between Chetham's and the CCOM based in Beijing.

We were given a traditional chinese melody and the chance to write for a combination group of Western and Eastern instruments. I chose the pipa for its ambient and percussive quality.

A learning curve with this one was that traditional Chinese musicians, though generally extremely virtuosic, are not used to irregular time signatures, and most unfortunately, almost the entire piece is in 5/8. Nevertheless, the premiere was a success , and can be found on my Instagram and Soundcloud.

 

 

Flute Etude

This is a work dedicated to the incredible organisation that is: EYSM . 

It was premiered on the 2026 course and aims to capture everything that is wonderful about EYSM: bubbling excitement, the low pressure but high standards and most importantly the fact that it is open to players of all abilities. This aims to be an accessible, fun piece whilst being challenging to the soloist and engaging to the ripieno.

 

 

Concerto for Cello and Orchestra

This was my first real venture into orchestral writing past exercises and arrangements. The first movement has two themes, separated by 6 months of study, so it is safe to say they are harmonically and texturally distinct. 

I plan, over the next six months, to complete this work, drawing influences from the each of the four home countries.

Mvt. 1: Moderato, Based on Pastoral England

Mvt. 2: Allegro, Based on the Highlands

Mvt. 3: Largo, Based on Welsh male voice choirs

Mvt 4: Jig, Based on Irish Folk

 

The first movement, performed in Stoller Hall by Stephen Frith and CSO is on my Soundcloud

 

 

Nova

This started its life as a last-minute request from the Brass Department at Chets for a fanfare at a school event, which I wrote in a day. Since then it has morphed into being more than that, and marks a turning point in my harmonic language to something more angular.

The programme note devised for BBC Young Composer sums it up best:

'The piece is written for brass and percussion, instruments often linked with
ceremony and tradition. Here they’re used instead to represent creative
voices. They start adrift, moving from scattered rhythms and unsettled
harmony towards something more unified and optimistic- though still slightly
on edge- in the middle section, before reaching a triumphant finale- thus the

birth of a new star. ' 

The work was double-shortlisted for the 2025 BBC Young Composer of the Year competition and can be found on my Soundcloud

 

 

Set of Hardy Songs

The first song, Neutral Tones is perhaps my most well-received piece. It sits in a Howells-esque harmonic world but with a deeper drama about the phrasing and pacing. This was performed beautifully by Grace Mcquillan, a Mezzo studying at RAM from 2026-30. 

The words evoke a beautiful sense of imagery that was a joy to capture.

'we stood by a pond that winter day,

And the sun was white, as though chidden of God,

And a few leaves lay on the starving sod;

– They had fallen from an ash, and were gray.

 

Your eyes on me were as eyes that rove

Over tedious riddles of years ago;

And some words played between us to and fro

On which lost the more by our love.

 

The smile on your mouth was the deadest thing

Alive enough to have strength to die;

And a grin of bitterness swept thereby

Like an ominous bird a-wing….

 

Since then, keen lessons that love deceives,

And wrings with wrong, have shaped to me

Your face, and the God curst sun, and a tree,

And a pond edged with grayish leaves.'

The first movement can be found on my Soundcloud