Welcome is a work composed by Edward Gregson arranged for Upper Voices and Piano. It was originally composed for boys' voices Organ Brass and Percussion in 1996 but ten years later Gregson created a new version especially for the Kinder Children's Choir of the High Peak. This latter version appears here and lasts around 4 minutes. The text of Welcome consists of the word 'Welcome' repeated numerous times in a variety of languages from English to various European languages to Hebrew and Arabic. Gregson's idea was to provide a fitting way to welcome a new and diverse audience into a newconcert hall designed for a new Millennium. The voices are divided into as many as six parts in certain places but it's left to the conductor to decide on how to distribute these parts depending on the size and make-up of the choir. The work is suitable for performance by any mixture of upper voices from children's choirs to female voices. In the January/February 2016 issue of Choir & Organ Geoffrey Webber calls Welcome 'an ear-catching start for any concert programme.'

Edward Gregson completed Tributes in the summer of 2010. Lasting some 16 minutes there are five pieces in the set each dedicated to a different composer and a different clarinettist (with whom Gregson had long musical associations). Each of the dedicatee composers wrote wonderfully for the Clarinet and as a tribute to them Gregson tried to invade indeed imitate their stylistic worlds in these pieces.They are as follows:To Francis Poulenc (for Emma Johnson) a rather dreamy toccata lyrical in feel but interrupted by typically quirky and disruptive rhythmic episodes.To Gerald Finzi (forJohn Bradbury) slow and lyrical with long melodic arches.To Igor Stravinsky (for Linda Merrick) asymmetric rhythms dominate with wide leaps in the solo line and bitonal harmony on the Piano.To Olivier Messiaen (for Nicholas Cox) based on the ravishing slow movement for Cello in his Quartet for the End of Time a seamless melody is woven around ever-changing repeated chords on the Piano.To Béla Bartók (for Michael Collins) the most virtuoso of the set; after a slow introduction a swirling folk-like dance unfolds mirroring Bartok?s penchant for simple modal shapes and ostinati rhythms.

Edward Gregson's String Quartet was commissioned by The Manchester Mid-day Concerts Society in celebration of its 100th year. The premier performance took place on the 14th of January 2015 performed by the Navarra Quartet at the Bridgewater Hall in Manchester. The piece is divided into three distinct movements each developing and changing what has come before. When commenting on his compositional process for String Quartet Gregson noted that he desired to return to the classical principles of Beethoven and Bartok deciding to include extended sonata variation and rondo forms.

Edward Gregson's Concerto For Trumpet arranged for Trumpet and Piano by the composer.

Edward Gregson's Occasional Pieces for Brass Quintet. Processional (1992) for brass quintet was commissioned by the University of Sunderland to celebrate their first graduation ceremonies under university status. These were held at the Empire Theatre Sunderland during November 1992. The commission was partly funded by Northern Arts.

'As the title suggests my Serenata Notturna evokes the atmosphere of night music. Following a reflective opening where the pitch development outlines a twelve-note series the music gradually becomes more agitated developing into a kind of danse macabre eventually reaching a powerful climax. The music then subsides into a much more tranquil atmosphere and the previous dissonant material transposes itself into a simple melody (like a lullaby) uttered by the cello the outline of which both melodically and in terms of the accompaniment figuration has already been present in the piece since the beginning. Thus the turmoil of the first part of the work becomes transfiguredinto something much more peaceful - hence the quotation that prefaces the score: 'out of darkness cometh light'.'Edward Gregson

Edward Gregson's Four Pictures for Piano Duet. Composed in November 1974. Dedicated to Mark and Justin.

This is the full score and parts for Edward Gregson's Flourish For An Occasion scored for three Trumpets and three Trombones. A full performance lasts around 1 minute.

For Cornet And Piano Reduction POD-Edward Gregson's Cornet Concerto. Reduction for Cornet and Piano. The Cornet Concerto was commissioned by the Black Dyke Band especially for their principal cornet Richard Marshall with funding generously provided by Arts Council England. The first performance was given on 30 April 2016 in Le Nouveau Siècle Concert Hall Lille France by Richard Marshall with Black Dyke Band conducted by Nicholas Childs. The first UK performance was given by the same performers on 10 July 2016 at The Royal Hall Harrogate as part of the 2016 Harrogate International Festival. Duration: 17 minutes.

Welcome is a work composed by Edward Gregson, arranged for Upper Voices and Piano. It was originally composed for boys' voices, Organ, Brass and Percussion in 1996, but ten years later Gregson created a new version especially for the Kinder Children's Choir of the High Peak. This latter version appears here, and lasts around 4 minutes.The text of Welcome consists of the word 'Welcome', repeated numerous times in a variety of languages , from English to various European languages, to Hebrew and Arabic. Gregson's idea was to provide a fitting way to welcome a new and diverse audience into a new concert hall designed for a new Millennium.The voices are divided into as many as six parts in certain places, but it's left to the conductor to decide on how to distribute these parts, depending on the size and make-up of the choir. The work is suitable for performance by any mixture of upper voices, from children's choirs to female voices.In the January/February 2016 issue of Choir and Organ, Geoffrey Webber calls Welcome 'an ear-catching start for any concert programme.' / Choeur Et Piano

Full Score-The Horn Concerto was written in 1971 and was the first of the ten concertos Gregson has composed to date. It is dedicated to the English horn player Ifor James who died in 2004 and was originally written for brass band. However in 2013 Gregson was asked by Paul Klein Principal Horn of the Ulster Orchestra and BBC Northern Ireland to undertake an orchestral version for him.  Gregson decided to score the concerto for a late Haydn sized orchestra with the addition of a percussionist to add some colour to the texture. The concerto takes as its starting point the Mozartian model namely a sonata form opening movement a song-like slow movement and a jaunty rondo finale. The opening movement opens with a strident motif built on rising fourths announced by the soloist and answered by the orchestra. This pattern of ‘question/answer’ continues until a climactic moment breaks the tension and is followed by a lyrical second subject announced by the soloist over undulating rhythmic patterns on strings. The music is developed and recapitulated from these ideas with the lyrical idea returning via solo clarinet with horn answering in canon. The movement ends with the strident fourths this time in inversion. The slow movement is in tertiary form and opens with an expansive melody from the soloist over a repetitive harmonic and melodic pattern. This is expanded and developed building all the while in intensity until it is interrupted by cadenza-like passages on the horn and muted brass. After a brief climax the music subsides into a moment of emotional serenity before the opening melody returns this time on solo oboe with the horn interweaving its own answering melodic lines. The rondo finale is more light-hearted in mood with a catchy 6/8 tune at its heart. It is twice interrupted first by an idea built on long held chromatic notes from the soloist against a highly rhythmic backdrop (wind brass and snare drum) then by a slower more thoughtful melodic idea. However

The original version of this setting of the well-known traditional English folk song was completed in 1974 and was commissioned by Rachel McMillan College of Education (where Gregson was a lecturer at the time) for its Music Department Choir (female voices). It then had the somewhat unusual instrumentation of spinet flute and string quartet. In 2017 Gregson was asked to revise it for performance and publication in a new version for upper voices and piano. Arranged for SATB with Piano accompaniment.