Works for chamber ensemble

 
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Spring Snow (2020) - chamber ensemble (8’)

This new work for flute, clarinet, horn, trumpet, percussion, harp, two violins, viola, cello and double bass is a single movement reflection on Yukio Mishima’s novel Spring Snow, the first novel in the Sea of Fertility tetralogy. I wanted to reflect the pensive and changeable mood of this book in my piece, and I am currently arranging for the first performance in 2021.

 
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Three Engravings (2020) - chamber ensemble (10’)

This new work for septet of flute, clarinet, percussion, harp, violin, viola, cello is inspired by the work of Ellie Cliftlands, a childhood friend, whose work as an engraver and illustrator is absolutely stunning. I wanted this piece to reflect on the immense detail in Ellie’s work, as demonstrated in Anglesey Abbey (left). This engraving was the inspiration for the first movement, and the second and third pieces draw inspiration from Attingham Park, Kitchen Garden, and Drummond Greenhouse. A full collection of Ellie’s work can be found here.

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Unearthed (2018-19) - for chamber orchestra (13’)

This three movement work for chamber orchestra was commissioned by Consortium Novum of Oxford, directed by Matthew Reese. It was first performed in the Sheldonian Theatre in Oxford in June 2018 to raise funds for homelessness relief. Further information about this event, and Consortium Novum can be found here.

 

The Day Does Not Pass (2018) - for accordion orchestra (7’)

This piece was composed for the London Accordion Orchestra in 2018, under the direction of Ian Watson, who conducted the piece at Duke’s Hall at Royal Academy of Music in spring 2018, and subsequently in Philharmonic Hall in Slovenia's capital Ljubljana on the 6th May 2018. This piece is inspired by The sea and the bells by Pablo Neruda, and I have tried to reflect gradual accumulations of tone and harmony in waves over the course of the piece.

Further information about the orchestra can be found here.

 
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Dream Fragments (2017) - for chamber ensemble (7’)

This work for chamber ensemble comprises three movements composed between 2017 and 2020. The first is an extension of a single melody into clouds of harmonic resonance, followed by a scurrying scherzo, and finishing with a slow reflective movement. This piece was composed for the Zeitgeist Chamber Orchestra.

 
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Constellations (2017) - for open scoring ensemble (5’)

Composed for CoMA (Contemporary Music for All) in 2017 and subsequently performed in London on. This piece was inspired by the artwork of Joan Miró, specifically his work Woman encircled by the flight of a bird. An open-scoring work, this piece can be performed by any combination of instruments, as all four lines of the score can be interpreted in any clef and any key/transposition. This results in clouds of harmonic resonance that constantly change depending on the instrumentation, creating ‘constellations’ of material that unfolds over the course of the piece.