Compositions

An invitation to meditaion on the loss of all innocent life.

Named for the small river-dwelling insects, Water Skimmers follows a trio of strings an brass. A Viola and Cello dance around over the relativley stable trumpet which occasionally throws up little ripples and waves.

to Home. follows the journey that we all take throughout our lives; returning to our friends, family, and loved ones. The opening of the set aims to builds anticipation, the simple quaver pulse yet ever shifting metre and metrical divisions bring the audience into a heightened sense of longing. We have started with direct motion, high in the clouds headed for our goal. The conclusion leaves room for introspection, perhaps hinting at a lingering longing for yet another journey, adding a layer of complexity to the narrative and inviting the audience to linger on the echoes of the musical voyage.

Hungarian Waltz is a short study piece for solo flute exploring the Hungarian Minor and Major modes. Both share an interesting modality and rural jaunt whilst also offering an exciting and dense harmonic structure.

When light interacts with water, it is reflected and refracted in a seemingly random distribution. The caustic patterns it creates are projected onto the bottom of the body of water, as well as being reflected. Made up of large swathes of sparseness and ting bands of organic density of concentrated light, these patterns from a close array of texture and flashes that beat and dance around each other as the surface of the water ripples and moves. Just as these periods of density and sparsity embody caustic patterns, Shadow Rhythms explores the relationship of the closest three intervals (minor and major 2nds and minor 3rds) as well as their compound cousins.

A piece for unaccompanied solo violin that explores the arthurian legend of the Sleeping Heroes. It follows the titular character of Gaheris as he explores the entrance to Craig y Ddinas, calling out into the darkness of the cave and hearing his vocalisations echoed back to him.

A short duet for Flute and Guitar using 12-tone technique.

Inspired by Messiaen's Quartet for the end of Time, Meditation seeks to create the same contemplative space mixing moments of irregular metre and extended technique.

The Nunc Dimittis can have many meanings drawn from its simple text. The righteous cries to an all-powerful lord that beg for death echo here not as a dark message of pain but as one of joyous fulfilment; my purpose is complete. It is not a “kill me now” lord, but rather a “let me die”. Whilst this ancient text speaks to a very specific emotional and theological moment. However, it also alludes to a modern context of death. This setting of the dimittis draws on density and symmetry to reflect on this intimate context. Built around the B natural pedal, the opening statement figures a series of chords, that eventually build out and develop into the harmonic language of the piece that swell and swirl, each one building from a single tone.

Here orchestrated for full symphonic forces, Concertino for solo Bassoon and Orchestra draws inspiration from the works of Messiaen and Stravinsky, resulting in a piece exploring the beautiful and eerie legato tenor register of the Bassoon. The harmonic content can be derived from a series of rotation of a singular chord.

Concertino for solo Bassoon and Piano draws inspiration from the works of Messiaen and Stravinsky, resulting in a piece exploring the beautiful and eerie legato tenor register of the Bassoon. The harmonic content can be derived from a series of rotations of a singular chord.

Storm Music is a symphonic tone poem made up of three vignettes. The music explores three moments in time as a storm rages through a coastal community, focusing on different characters throughout the story. Much of the musical inspiration came from the English pastoral school, with moments reminiscent of Elgar and Holst. Further content is also bought by the use of traditional folk ballads, with the work of early musicologists such as Bartok and Messiaen inspiring some of the more programmatic content. In addition, various explorations of extended technique are seen. The work is intended for performance by an orchestra as part of a performance programme as a concert overture.