Dracula: An Orchestral Thriller, Op. 14 No. 3 for Chamber Orchestra, Narrator and Violin Solo Music by Stephen Whitehead Narration by Jeffrey Whitehead, based on Bram Stoker’s Dracula. Additional textual contributions by Clifford Schwartz. Originally inspired by Sergei Prokofiev’s Peter and the Wolf, in which the narrated scenes are realized musically, Dracula: An Orchestral Thriller in its first incarnation was a children’s piece for narrator and string quartet, and was premiered at a German Medieval castle in 2003. Later, the narrative and music were reworked into this longer version for older audiences, preserving the overall arc of Bram Stoker’s novel, with some scenes inspired by the 1922 film Nosferatu. The music was rescored for chamber orchestra in 2014. Three Laments on The Great War, Op. 11 for Vocalists and Chamber Orchestra Music by Stephen Whitehead Texts by English poets Wilfred Owen (1893 - 1918) and Ivor Gurney (1890 - 1937) I. Arms and the Boy (Owen), baritone solo II. The Target (Gurney), tenor solo III. Anthem for Doomed Youth (Owen), mezzo-soprano and baritone duet These pieces express the disillusionment of two British soldiers during the First World War. The music captures the unrelenting horrors and bitter ironies of men fighting a war many believed would be over by Christmas 1914. Wilfred Owen and Ivor Gurney put into poetry their first-hand experiences and their personal judgments concerning a conflict in which a generation of young men met untimely death. Owen was killed a week before the Armistice of November 11, 1918. Homage to Gloriana: An Elizabethan Tone Poem, Op. 16 in Honour of Queen Elizabeth I of England for Harpƒichord Solo, Piccolo/Recorder Solo, Orchestra and Chorus by Stephen Whitehead, Esq. with Themes from the English Renaissance together with an optional spoken vere by Sir Edmund Spenƒer to be read prior to performance. Printed by Isaac Jaggard for Matthew Lownes, 1611 Homage to Gloriana is a 21st-century homage to Queen Elizabeth I (1533 - 1603) and English Renaissance music of the late 16th century. The first theme, introduced by the woodwinds then played by strings and briefly intoned by the brass, is a melody from a song once beloved of Anne Boleyn (1501 - 1536), the martyred mother of Elizabeth I. The next section with harpsichord solo then eventually tutti orchestra is from The Queen’s Alman by William Byrd (1540 - 1623). The chorus enters on music from Byrd’s Mass for 5 voices (modified) with text paraphrased from The Faerie Queene by Sir Edmund Spenser (1552 - 1599). The piece ends with a popular song from the time, “The Leaves Be Green”.