Into the Tomb

‘. . . The 36 measures take more than three minutes to sing, and there is an aching desolation about the dissonant harmonies. The central section, marked “Solemn Processional”, is centred around C minor/F minor, but the beginning and end make their way to and from the note E, producing a nice tonal balance. This piece would make an effective contribution to any Holy Week concert, since the composer has captured the mood of the text so well.’   (Jeremy Jackman, Choir & Organ Magazine, April 2020)

  War Passion

‘The best of the music — always tonal, but sometimes churningly chromatic — is powerfully suggestive’ (Andrew Clements, The Guardian)

‘A struggle to find belief, and intermittently, the glimpses of forlorn hope, were typical of the pained intensity of this impressive, well-wrought work. It was fascinating to hear the Lancaster [work] stand up so well alongside the previous evening’s gigantic undertaking [Elgar’s The Kingdom].’ (Roderic Dunnett, Music and Vision)

‘. . . a composer of such accomplishment . . . The scoring struck me immediately for its skill and sonorous impact. It is the kind of uncompromising invention I find especially satisfying . . . A major achievement.’ (the publishing director of a music publishing house)

‘What an amazing work you have created. It is so powerful and so full of wonderful lines, effects, atmospheres, colours and seriousness of intent.’ (Paul Spicer)

‘. . . powerful and harrowing . . .’ (Jonathan Hope)

  Bach and the Sentry

‘. . . many people commented on your song and how magical the effect of incorporating Bach.’
Gavin Roberts, following the performance of the song by he and baritone Jonathan Hyde at the St. Marylebone Festival, 22 July 2016.