The Beeyons' sudden incursion into the world and their remit to exploit planetary resources had caused the rapid disintegration of human civilization and threatened the very survival of humankind. It had been said that all youths were to be captured and subject to harvesting, yet one particular boy was spared. He was taken off-planet and made part of a New World. For a period of almost two hundred years he was tasked with the care of other protected young people, although he appreciated the scope for his involvement in duties other than this was limited. He was deprived of information and, even if honored with the title of Galactic Monastic, he was barred from holding any real responsibility. He enacted the ceremonies according to requirement but, ultimately, allowed complacency and acquiescence to dominate his life. He became serene and docile. Consequently he was overwhelmed when, without any forewarning, he was advised that the New World had moved in directions nobody expected. The prospects for all these human youths and their descendants had fallen exclusively into his hands. He must act now before it was too late. He must accept that the rites which were so sublime to his sensitivities would not be sufficient. It would not be enough to remain sheltered by the reverential. He must perform these new endeavors with certitude to prevent disaster. He must act now

It is 1634 and Germany is at war. The Catholic imperialists have won a decisive victory in battle over the Protestant nationalists. All across the land there is disorder as both armies splinter into groups of rampaging militia, the defeated infantrymen fleeing for their lives, and the cavalry and musketeers of the conquerors burning and pillaging enemy farms and villages as they advance. The Pikeman is a soldier from the defeated nationalists who has been pressed into rescuing refugees from devastated communities and taking them to sanctuary. The Musician is a church organist well regarded in the Protestant hierarchy who has now stumbled into representing a belligerent Catholic faction. Both men have come under the direction of a Benedictine Abbess who would use their services to ensure the security of her cloistered nunnery. And all are caught in the duplicity and subterfuge of political machinations, the struggle for meaning among the rampant bloodshed, and the resort to desperate measures while seeking to identify not only blessed resurgence from utter ruination but also that which will distinguish those who shall live from those who shall die.

The music is based around the Ancient Greek myth of Hebe and Ganymede. Zeus kept Hebe, goddess of youth, as his lover until captivated by the beauty of Ganymede. The god took the form of an eagle and transported the boy to Mount Olympus. Ganymede supplanted the goddess as Zeus's beloved and cupbearer of the gods, while Hebe wed the immortalised Heracles.

Iphigenie in Oberelchingen for trumpet in C and organ was composed in 2009 in conjunction with the novel, Iphigenie in Oberelchingen, also written by Phaedimus.

Hebe & Ganymede is set in Guntia (modern day Gunzburg) on the banks of the Danubius (River Danube) at the close of the 5th century. Following the fall of the Roman Empire the town has become a focal point for Angles, Saxons and other northern Germanians seeking new territories in which to settle. The town's militia, under the directive of the king who is also of Saxon lineage and allegiance, have been conquering the neighbouring regions of Alamania to provide land for new migrants, and taking captives for slavery from the subjugated villages. But now Guntia is under threat of attack from another tribe, the Helvetians, who are enraged at the thieving of youths from their Celtic-blood neighbours, and seek retribution. It is feared a raid will bring death and destruction to the town, and that the king's soldiers and many of the town's folk will be slaughtered. Killian von Guntia is of noble birth, but landless, and is now in the pay of the king. His employ is the ritual slaughter of abducted Alamanians for the purpose of honouring the tri-serpent, a supernatural creature that is said to plague the river. His role makes him an easy target for reprisal if the Helvetians sack the town, and he is concerned for his safety. Furthermore he has thrown his mistress (Hebe) onto the streets, and become enamoured with a young boy (Ganymede), a move that has earned him the derision and condemnation of the burgeoning Christian power-base in the town. Killian von Guntia is alone and has no place to turn. If he stays in the town he will be subject either to the king's wrath or the savagery of a raid, and if he flees then he will be hunted down as a fugitive and traitor."

When Jack - the wrong side of forty, cynical and despondent - meets Julie, not yet twenty-one and dropped out of college, by chance in a poor, remote Indonesian town it is immediately clear they are as different as light and day, yet they are drawn together. It transpires Jack is well entrenched in the town, and deeply involved in various illicit rackets. Julie is scathing about his activities but, lacking her own financial independence, she is manipulated towards complicity. Consequently, their relationship flips between fierce passion and growing enmity. Traumatised when together, yet unable to live apart, their affinity is also impelled by the leader of a politically-based trafficking operation, who in turn is made fanatical by a vision of demoniac spirits and by the grandiose teachings of a temple set among verdant rainforest. And it is the 'Heights of Euphorum' that drives all human aspiration and which inspires all of them in their own way.

Lofty and Ascendant, for String Quartet, was composed in 2005 in conjunction with the novel, 'Lofty and Ascendant, this view of a girl', also written by Phaedimus. It was first performed in concert on 7th April 2007.

Memorabilia comprises five monologues for male speaker alternating with five interludes for solo piano. The intent is that, in performance, the speaker and pianist are the same person, although other realisations are also feasible. The work lasts about 25 minutes in all, divided equally between the monologues and the music.

A celestial spirit has lived in the realms beyond the sky since the dawn of eternity, but has always wondered upon what it would be like to be human. For the godlike cannot know what it is to laugh with joy, to cry in pain, and to revel in the rhythms and harmonics of passionate music; they cannot know what it is to fall head over heels in love with a beautiful girl, and learn from her the joys of tenderness. At last he has been summoned to take on human form. He must pass down from the heavens unto the world and counteract the havoc caused by a renegade spirit, the evil Mantafey. And at the same instance, he might learn something of these personal curiosities as well.

When Thomas - 24 years old, musician, part-time student - strips off his clothes in a park at midnight, and takes out his flute to play in celebration of midsummer just as if he were Orpheus of ancient times charming the natural world about, he has little notion of the consequences that might follow. He is spied by the wily Belsa - sports car enthusiast and part-time mother -- who wants him to play his flute while still gloriously unclad at the nearby cemetery in which her partner is buried, and accordingly explore an underworld of hidden motivations. Together they embark upon a journey into the realms of mass hysteria, self-sacrifice, and millennial fervour.