SOLO
Field of Play (2024-25), prepared cello, total 18’30”
a body of 4 works, can be played together or as stand-alone pieces:
– hidden place (9′)
– seesaw A (2′)
– contact (6’15)
– seesaw B (1′)
co-composed with Natasha Zielazinski
funded by the Guildhall School of Music & Drama’s Research & Innovation Fund
Pulsations (2021), prepared violin, open duration (min. 14′)
commissioned by Music We’d Like to Hear for Mira Benjamin (RVW Trust)
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flare (2021), piano, 7′
written for Ben Smith
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flicker (2020), piano, 5′
written for Benjamin Powell on Psappha’s Composing For Piano scheme 2019/20
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Clusters (2020), singing violist, 6′
commissioned by Katherine Clarke
remnants (2018), cello, 6′
written for Natasha Zielazinski
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SMALL ENSEMBLE
shadowfolds (2025), clarinet, piano, vibraphone, violin, cello, 7’04”
written for Another Timbre
Grafting (2025), bass clarinet, violin, prepared cello, 12’43”
funded by the Guildhall School of Music & Drama’s Research & Innovation Fund
will we see any ducks today? (2024), at least 3 players of any sound-making sources that can sustain pitch), open duration
written for Wandelweiser’s Klangraum
Shades of Night (2024), bass flute (+ flute), ondomo, cello, percussion, 13’10”
commissioned by Rubiks Collective through the 2022 Pythia Prize
(with live visuals by Allison Chhorn, though may be performed without this)
being in a room with others (2023), any number of players, open duration
written for a concert at Edition Wandelweiser, Hann, Germany
things we overheard (2023), for soloist and 3-4 players, c. 4’30”- 6’30”
written for Purcell Parallels, in celebration of The Purcell School’s 60th anniversary
(left detail) (2023) clarinet, piano, cello, 5’30”
commissioned by Illuminate Women’s Music for Trio Sonorité
towards a different space (2022), bass flute (+ flute), alto flute, bass recorder (+ voice), cello (+ speaking), 4’16”
commissioned by Breakfast Club
Overlapping Transformations (2022), violin, bass clarinet, baritone electric guitar, double bass, open duration (min. 5′)
commissioned by Prague Quiet Music Collective for ‘Five Uncertain Situations’ (with Prague City Gallery)
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slowly, turning (2022), Paetzold contrabass recorder and accordion, 5’30”
commissioned by Tabea Debus and Samuele Telari, with funding from Beauftragten der Bundesregierung für Kultur und Medien as part of NEUSTART KULTUR
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expanse (2022, rev. 2023), 8 players: bass clarinet, baritone saxophone, prepared electric guitar, piano, violin, viola, prepared cello + prepared double bass, 10’30”
commissioned by Ars Nova Ensemble Instrumental + The Riot Ensemble (Diaphonique)
same but different (2021), two acoustic guitars (one prepared), 10′
commissioned by the Royal Philharmonic Society for the Miyabi Duo as part of RPS Composers Programme 2020/21
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Points of Intersection (2020), string quartet + trombone, 10′
commissioned by the Aurora Orchestra (RVW Trust)
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Piece for three tuned cowbells (2019) percussion duo (three tuned cowbells), 10′
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Colour Catalogue: Whites (2018), flute, bass clarinet, cello, 14’45”
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Shifting (2018), baroque flute, clarinet, viola, double bass, 12′
sounds which grow richer as they decay (2017), two tenor trombones + prepared harp (amplified), 8′
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Reordering the Unconsumed (2016/ 17), two cellos, 5’30” (live with video, but can be played without video)
video: Geoffa Fells (with thanks to Lawrence Jay Pearson, Sophie Clements & Paolo Catalano)
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LARGE ENSEMBLE / ORCHESTRA
Moss that holds (2025), 3(fl+afl+bfl).1.3(3rd/bcl).2 / 3.1.2.1 / perc. (3), hp. pno / str (14.12.10.8.6), 16′
commissioned by BBC Radio 3 for BBC Scottish Symphony Orchestra, conducted by Ilan Volkov at Tectonics 2025
moss-covered wood (2022), afl+bfl.0.1.s sax+a sax.0 / 1.1.2.1 / perc. (1), e.gtr, b.gtr, pno / 4 singers (S, MS, A, A), 3′
written for Orkest De Ereprijs’s Young Composers Meeting 2022
suspended in the air (2020), chamber orchestra, 1.1.1.1 / 2.0.2.0 / hp.cel / str (3.2.2.2.2), 8’30”
written on LPO Young Composers programme 2019/2020
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Reframe (2017/18), chamber orchestra, 1(AFl).1.2.0 / 1.2.2.0 / hp.pf / str (4.3.2.2.2), 7′
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VOCAL
burst flood wound (2021, rev. 2022), 6 voices (S, MS, Ct, T, T, B), 8′ 45″
commissioned by Kölner Philharmonie (KölnMusik) for EXAUDI
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Kite (Dymchurch) (2021), soprano, clarinet, prepared harp, double bass, 8′
commissioned by Wigmore Hall for The Hermes Experiment
Warum (2018), SATB choir
commissioned by Musarc
Landscape Fragments (2015), 6 voices (S, MS, Ct, T, Bar, B), 8’30”
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Binding (2015), alto flute, clarinet, acoustic guitar, mezzo-soprano, viola, piano, 4’30”
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paper wings (2015), 6 voices (open scoring), 4′
commissioned for the CoMA Partsong Book (published by Peters Edition and edited by James Weeks). More info here
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ACOUSMATIC
breathing-space (2021), 9’36”
written for Clouds and Tracks, Audio Circular 1
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INTERDISCIPLINARY
Shades of Night (2024), bass flute (+ flute), ondomo, cello, percussion, 13’10”
commissioned by Rubiks Collective through the 2022 Pythia Prize
(with live visuals by Allison Chhorn, though may be performed without this)
there it lies and there it must stay (2019), audiovisual + live piano, 10′
visuals: Amy Dang; title from POEM by Jean Launert
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Breathing bones (2018), audiovisual, 12’30”
choreographer/ videographer: Chan Sze-Wei
Reordering the Unconsumed (2016/ 17), video + two cellos (live), 5’30”
video: Geoffa Fells (with thanks to Lawrence Jay Pearson, Sophie Clements & Paolo Catalano)
Watch