MusicatlasMusic
Orchestral
- Concerto for Viola and Orchestra
- Concerto for Oboe and Strings
- Memories of Simona for orchestra and male speaker
- Messengers of Light for orchestra and obbligato contralto/countertenor solo
- Hidden Duos for small orchestra
Choral
- Christmas Cantata – ‘The Word was Made Flesh’ for choir, speaker, organ, flute/recorder and percussion
- Mass of St. Peter for choir and percussion
- Cantata — Divine Word for baritone, choir and strings
- What is Earth? for choir a cappella
- Remember for choir a cappella
Songs
- Images of Love, 5 songs for tenor or soprano and piano
- O Ye Dwellers in the Highest Paradise! for mezzo-soprano, clarinet and piano
- Awakening, 3 songs for baritone or mezzo-soprano and piano (or keyboard)
Chamber
- String Quartet
- 6 Dance Episodes for oboe, guitar and piano
- Waves of One Sea for percussion quartet
- Solstice for clarinet, violin and piano
Duet
- Sonata for oboe and piano
- Corrievrechan for two pianos
- Three Human Attributes for piano duet
- Transforming Stress for cello and piano
- Journey of the Soul for violin and harp
- Unchartered Territories for violin and harp
Piano solo
- Toccata in the Manner of JS Bach in the 21st Century
- Two Reflections
- Piano Sonata No. 2 – ‘In Search’
- Four Kinds of Love
Life
Malcolm Dedman was taught piano at an early age, but soon preferred to improvise. Although he later had formal violin and singing lessons, it was composition, arising out of improvising at the piano, that he was most interested in pursuing.
He had composition lessons with Patric Standford at the Guildhall School of Music and Drama in 1974–75, but did not receive a formal qualification in music until 2005, when he passed his Masters Degree in Composing Concert Music at Thames Valley University with distinction.
Malcolm’s earlier writing reflected the developments in serialism, but within a modal context. Such works include the first Piano Sonata – Restoration of 1973 and the String Quartet of 1977–79. Although he is still attracted to the possibility of different types of modes, his style now has links with minimalism (although it is rarely strictly minimal) and other so-called post-modern idioms. The modal writing also aims to integrate music from different cultures.
He now has an extensive catalogue of self published works (Misty Mountain Music), dating from 1976, ranging from solo to choral and orchestral. These are available in Sibelius format and can be seen on the Sibelius Music website.
