Jennifer Margaret Barker
Musical Compositions
ORCHESTRA
Kaitiaki (2021) for 2 amplified violins and symphony orchestra; with accompanying nature film -
pub. McKenna-Keddie
Suilean a’ Chloinne (2001/2006/2010) for string orchestra - pub. McKenna-Keddie
A Celtic Prayer (1994/2005) for symphony orchestra
Nollaig (1998) for children’s chorus and symphony orchestra, with the optional addition of folk instrumentalists; traditional folk song texts - pub. Boosey & Hawkes (chamber version arranged
by Dr. Betty Bertaux; see Betty Bertaux Choral Series)
Geodha Air Chùl Na Grèine (1987) for folk band, string orchestra, choir and Scottish Gaelic soloist; poetry by
Derick S. Thomson
THEATRE
The Bacchae (1992) original musical score for Euripides' Greek Tragedy ‘The Bacchae’
CHORAL (see orchestral for Nollaig and Geodha Air Chùl Na Grèine)
Ealasaid (2019) for choir, erhu and violin (or 2 violins); poetry by Helen B. Cruickshank
My Son (2011) for choir and percussion ensemble; words by Joseph and Anne Paroulek
- pub. McKenna-Keddie
Nobody Told Me (1997; enlarged version ‘98) for three soprano soloists, solo improv. trumpet, chorus,
woodwind/brass ensemble, banjo, piano and percussion; poetry by Walter de la Mare
Three Highbrows We (1995) for SSA chorus and chamber ensemble; poetry by Herbert Farjeon
Harmony of Angels (1992) for large choir, full orchestral brass, percussion and pipe organ; Shaker hymn texts
A Plea (1990) for 'a cappella' chapel choir and solo trumpet; biblical text
Via, Veritas, Vita (1986) for 'a cappella' chapel choir; biblical text
MULTIMEDIA
Kaitiaki (2021) for 2 amplified violins and symphony orchestra; with accompanying nature film
- pub. McKenna-Keddie
Tìrean cèin (2016) for erhu and violin, accompanied by film with vocal/orchestral soundtrack
INSTRUMENTAL CHAMBER
Ocean of Glass (2021) for flute, clarinet and piano - pub. McKenna-Keddie
Chincoteague (2018) for four C flutes - pub. McKenna-Keddie
Le Passage du Temps (2013) for baroque flute, violin, viola da gamba, violoncello and harpsichord
…a love like no other… (2013) for woodwind quintet and piano - pub. McKenna-Keddie
Snowfeathers (2013) for erhu, violin, piano and percussion - pub. McKenna-Keddie
Seann Òran (2012) for flute and acoustic guitar with recording; poetry by Derick S. Thomson
- pub. McKenna-Keddie
umurangi-kikorangi (2007) for oboe, horn and piano; extension of Red Sky at Night (2002) score
- pub. McKenna-Keddie; available from Gail Warnaar Double Reed Music Shop
The Hole Thing -
Wookey Hole (2012) for oboe, cor anglais, bassoon and piano - pub. McKenna-Keddie
Piddle-in-the-Hole (2005) for oboe, cor anglais, bassoon and piano - pub. McKenna-Keddie
Geodha (1992/1998) for string trio and timpano - pub. McKenna-Keddie
Earthtones (1993) for marimba and violin - pub. Southern Percussion
also available from McKenna-Keddie
Eilean Donan (1991) for soprano saxophone, cello, piano and percussion
VOCAL CHAMBER
Harmonious Dreams (2018) for baritone, Bb clarinet, violoncello and piano - pub. McKenna-Keddie
A Lassie's Love (2015) for soprano, flute and piano; poetry by Robert Burns - pub. McKenna-Keddie
sair wrocht wi lilt (2006) for bass voice, flute, oboe/cor anglais, clarinet/saxophone, viola, bassoon,
double/electric bass, piano, percussion; text by Jennifer Margaret Barker
Two Poems (2003) for soprano, violin, viola, violoncello and percussion; poetry by Pulitzer-prize winner,
Stephen Dunn - pub. McKenna-Keddie
L’amour… (2001) for countertenor, alto flute, English horn, contrabass clarinet, harpsichord and celesta
- pub. McKenna-Keddie
Naibh Beags/Nyvaigs (1997) for soprano, alto saxophone, C flute/alto flute/piccolo, 3 multi-percussionists,
piano and narrator
SOLO
...to the pale green sea of evening... (2015) for Bb clarinet and piano - pub.McKenna-Keddie
Dumgoyne (2012) for C flute and harpsichord - pub. McKenna-Keddie
BuMian (2011) for solo piano - pub. McKenna-Keddie
Moana (2010) for solo piano - pub. McKenna-Keddie
Effigies (2006) for pipe organ - pub. McKenna-Keddie
Salve Festa Dies (2003/2018) for Bb trumpet and pipe organ - pub. McKenna-Keddie
Geenyoch Ballant (2002) for solo piano - pub. McKenna-Keddie
Tout Entière (2001) for baritone and piano; poetry by Charles Baudelaire - pub. McKenna-Keddie
Na Trì Peathraichean (2000) for C flute and piano - pub. McKenna-Keddie; available from Flute World Co.
Blue Waters (1998) for solo vibraphone - pub. Southern Percussion
also available from McKenna-Keddie
The Enchanted Glen (1993) for Bb clarinet and piano - pub. McKenna-Keddie
Three Thoughts (1986) for solo piano - pub. McKenna-Keddie
Four Promenades (1986) for solo oboe
TRANSCRIPTION
Flute/Piano transcription (1999) of Pulitzer Prize-winning Concerto for Flute, Strings and Percussion by
Melinda Wagner; commissioned by the composer for publication by Theodore Presser
IN PROGRESS
Helen of Gloag, opera
Inchcailloch, chamber opera
Caledonia, for wind ensemble and Celtic drummer (Catherine Doersch)
Duo for violin and accordion
Chamber Work for flute and string quartet
Barker's compositions are also available from the
and the
English Translation of Composition Titles
Ealasaid (Scottish Gaelic) - Elisabeth
BuMian (Mandarin) - sleepless
Geenyoch Ballant (Scots) - insatiable/ravenous ballade
Geodha (Scottish Gaelic) - A Geo (Bay)
Geodha Air Chùl Na Grèine (Scottish Gaelic) - A Geo (Bay) in the Sun's Shelter
Kaitiaki (Māori) - Guardian
Le Passage du Temps (French) - The Passage of Time
Moana (Māori) - waterfall, lake, ocean
Naibh Beags/Nyvaigs (Scottish Gaelic/Scots) - Little Ships
Na Trì Peathraichean (Scottish Gaelic) - The Three Sisters...(of Glencoe)
Nollaig (Scottish Gaelic) - Christmas
sair wrocht wi lilt (Scots) - full of lilt
Seann Oràn (Scottish Gaelic) - Old Song
Suilean a’ Chloinne (Scottish Gaelic) - Children's Eyes
Tìrean cèin (Scottish Gaelic) - Distant Shores
Tout Entière (French) - All of Her
umurangi-kikorangi (Māori) - Red Sky/Blue Sky
" a composer of profound sensibility"
- Victoria International Arts Festival, Gozo, Malta
In reviewing the Geenyoch CD, critic Jon Alan Conrad noted that Barker’s music “sounds familiar and yet always new. While speaking in her own distinctive compositional voice, it answers the emotional and visceral needs that music has always met”. Conrad also notes Barker’s ability to “incorporate thrilling new sounds”, and that “there is always a gratifying curve and arch to her vocal and instrumental phrases, as well as in the shaping and pacing of whole movements”.
