The guitar sonata was composed in the aftermath of serialism, in 1982. Already there were signs of the 'new tonality' but for many composers (including me) that was considered to be not-done.
How things have changed since then.
Although this sonata is not a strict serial composition, the sound and structure suggest to be so: wide intervals, dissonants, rhythmic / metric structures that are sometimes complex.
These features make up a lively piece with contrasting elements, closely linked to the sound of the second half of the 20th century.
Looking back on it now, nearly 30 years later, it hasn't lost its eloquence.
Currently working on a work for saxophone quartet, requested by the Bron Saxophone Quartet.
My latest work is "Ritual text for the afterlife" for women's choir and tubular bells.
Ancient Greek goldplates with texts - recently found in graves - that were carried by the dead on their journey to afterlife.
In progress is a work of a much bigger scale: Blodeuwedd, a dance poem for narrator, singer/reciter, dancer and ensemble. The poem is by the Welsh poet Tony Conran.
Another recent work (2016) is
O me! O life! (Walt Whitman) for choir and string quintet.