Composing

Commissions as a composer include the London Symphony Orchestra, La Monnaie, La Folia, the Scottish Chamber Orchestra, Salisbury International Arts Festival, Southern Cathedrals Festival, English National Opera, Cultural Olympiad, Childrens Music Workshop, Bangladesh Festival, Station House Opera, Jack De Johnette, The National Forest Project, and the Anvil. He has written a Requiem with the flamenco guitarist Paco Peña, performed at an opening concert of the newly re-furbished Royal Festival Hall. A new opera co-commissioned by four European opera houses is in the planning stages, for performances 2017 - 2019.

Compositions

  • Push (Battle Festival and Glyndebourne, 2016)
  • Vaishnava (London Symphony Orchestra 2016)
  • And my heart goes swimming (Days Bay Opera, 2016)
  • In The Hand Of God (Southern Cathedrals Festival, 2015)
  • Deeds Not Words (London Symphony Orchestra, 2015)
  • Eagle Music (Piers Adams, 2014)
  • Invictus 46664 (London Symphony Orchestra 2014)
  • Unease (London Symphony Orchestra 2014)
  • The Old Salt Road (Bolsterstone Male Voice Choir 2014)
  • Sindbad - A Journey Through Living Flames (La Monnaie, February 2014): film of the complete work | documentary
  • Napoleon Unbuttoned (London Symphony Orchestra, July 2013)
  • Song for Dover (Cultural Olympiad, July 2012)
  • Terrors of Red Flame (London Symphony Orchestra, 2012)
  • Border Lines (Scottish Chamber Orchestra, 2012)
  • Where Two Worlds Touch (Salisbury International Arts Festival, 2012): see reviews below
  • Via Perdix (La Folia, 2011)
  • Gold Mountain (London Symphony Orchestra, 2011)
  • The Brussels Requiem (La Monnaie, 2010): see reviews below
  • The Devil’s Variations (London Symphony Orchestra, 2010)
  • Variations on Madness (London Symphony Orchestra, 2009)
  • Moving Music (Scottish Chamber Orchestra, 2008)
  • Nonino (Farrant Singers, 2008)
  • Music for As You Like It (Derby Playhouse, 2008)
  • Requiem for the Earth (2007, written together with Paco Peña)
  • Songs of the Forest (Oratorio for Lichfield Festival 2005, CMW/Viva)
  • Watching it Spin and Turning Stones (arr. David Jackson, used as film music)
  • String quintet (John Surman String Project)
  • Suite for a Better World (brass, percussion and sax for Jack de Johnette/London Brass/London Jazz Festival)
  • All Change (The Anvil, libretto Ian McMillan)
  • Requiem (Children's Music Workshop/ENO Bayliss project, 2000)
  • Dhabi (1999, devised musical for the Bangladesh Festival, dir. Stephen Langridge)
  • Weigh me the Fire (Southern Cathedrals Festival, 1997), recorded by Trinity Boys Choir
  • Salisbury Proverbs (Station House Opera/Salisbury Festival, 1997)
  • Serenade for Strings, Vibraphone and Bass Clarinet (Sarum Chamber Orchestra 1995)
  • Air of Freedom (1989, Band of the Royal Air Force) live Albert Hall recording for Polyphonic QPRM 114D

Reviews

Where Two Worlds Touch

Hebrew, Urdu, Farsi, Arabic and Sanskrit all combined. On stage, in front of massed choirs Ziya Azazi, a dervish, began to whirl, his white robes flying up into a disc....the music had the same diverse hinterland : Moody's setting of Bemirid had a Weimar vamp; his Birdsong set off a Messiainic marimba pattern with whistling from the choirs; in Labbeyk the marimba was more of a hubble-bubble, rounded off with a gospel exhalation.

David Honigmann, Financial Times (25 May 2011)

Many of the text settings, shared between the composers Helen Chadwick and Howard moody, equally rejoiced in the dramatic. The pieces by Moody (also the concert's alert conductor) supplied the boldest sounds, with jazzy syncopations, crunched vocal harmonies, juicy brass playing from the ensemble La Folia and shuddering gongs and xylophone embroidery.

Geoff Brown, The Times (24 May 2011)

This journey was articulated by musical patterning as colourful and varied as the stained glass window above our heads...Moody's contributions were ingeniously coloured by a brass quintet and percussion, and included jazzy and Spanish-flavoured numbers.

Ivan Hewett, Daily Telegraph (24 May 2011)

The Brussels Requiem

...on se trouve ici devant tout autre chose : non plus un 'projet educatif' mais une production aboutie, d'une force musicale et artistique comparable a celle de nombre d'autres productions professionelles.

Martine D. Mergeay, La Libre (22 November 2010)