Music for Concert
I trained in the contemporary classical tradition and regularly write new works for ensembles, choirs and orchestras.
My concert music is inspired by everything from astronomical photography to surrealism, psychadelia and Shakespeare. From sinuous, bubbling textures to vast, haunting harmonies or from complex architectures of groovy rhythms to moments of colourful simplicity, I enjoy the adventure of taking a walk through interesting sonic landscapes.
Please don't hesitate to contact me for perusal scores. I'm always interested in finding new ensembles to collaborate, experiment and make music with.
Whistling, roaring soundscapes meet pseudo-jazz rhythms in Martian Saloon, performed by KEMS Concert Band in 2017 as part of the 'Adopt a Composer' scheme, in association with Radio 3, Sound and Music and Making Music. I spent an amazing year with these musicians workshopping material that evoked otherworldly atmospheres. Available in flexible concert band format here.
Inspired by the 'holy minimalists' of Eastern Europe, a sparse string orchestra comes together in Only Tears to paint a picture of raw anguish. (2015)
vln(2).vla.clo.db (5 mins)
With Take, O Take Those Lips Away, I wanted to capture in time here the poignancy of Shakespeare's famously lovestruck sonnet, combining a sense of the intimate with a sense of the collosal. (2014)
SSAATTBB (limited divisi), perf. by Constanza Chorus (5 mins)
Some hugely extrovert fun, A Bureaucratic Nightmare pits comical terror against a strangely tense idea of peace. (2016)
2(2pic).2(2ca).2(2bcl).2/ssax.asax.tsax.bsax/18.104.22.168/timp.2perc/cel.hrp/str, perf. by the Royal College of Music Orchestra
Rhumba was composed by dissecting some of my favourite folk melodies. The title, and the character of much of the material, is inspired by the collective pronoun for a group of rattlesnakes. (2014)
string quartet, perf. by the Delphi Quartet (7 mins)
Two Blue explores the colours, feelings and sounds of psychadelia, and what it means to me. (2017)
trombone + piano, perf. by Chris Ford and myself (11 mins)
In 2016, the Science Museum held an exhibition showcasing the beauty of astronomical photography. The contrast between fiery, stellar violence and the lonely qualities of individual human observation in part inspired The Colour of Breath.
flt.ca.cl.asax.bsn/hn.tpt.tbn/hp/vln(2).vla.clo.db (10 mins)
For Dinnertime, George Herbert's sensual poem 'Love Bade Me Welcome' begged a sumptuous and colourful treatment by a small chamber ensemble. (2014)
cl.bcl.harmonica/sop(2)/vla.vla.clo (8 mins)
The introductory melody of Furious Dancing, entirely in harmonics, begins a dramatic dialogue between several sorrowful, glistening, and hauntingly expressive moods. The piece jumps quickly between these ideas, arguing with itself. (2015)
solo cello, perf. by Florian Belbeoch (10 mins)
The title of Climb and Crumble explains all - the notes climb, they crumble, they ascend, they fall, in a beautifully tumbling fashion. (2014)
solo piano, perf. by myself (previously workshopped by Mary Dullea) (4 mins)
Vigoroso Ironico's highly motivic, argumentative, flourishing dialogue explores timbral possibilties on the violin. (2015)
solo violin, perf. by Julian Fish (7 mins)
A dreamy setting of the immortal words of William Blake in A Dream. (2014)
alto, violin, viola, cello (alto perf. by Elspeth Marrow) (4 mins)
I collaborated with wordsmith Laura Attridge for Widow and contributed a dark and hauntingly evocative song for a production of 'Damsel Witch Wife' by the And So Forth Opera Company. (2015)
mezzo soprano + piano (mezzo perf. by Rozanna Madylus)