composition

I studied composition with David Maki (2002-’06), Stephen Davismoon (2007-’10) and Katrina Burton (2007-’13). As a composer I am interested in open works which make practical use of quantum theory (indeterminacy and discontinuity) and anarchic (non-hierarchical) social structures. I compose mobile moment form works informed by harmonic spectra, involving self-directed ensembles. Most of my works are intended to be approachable by and interesting to both virtuosi and non-virtuosi, especially student and amateur ensembles.

soundcloud

youtube

Current Projects

Scores

Scores are available on request, with previews available on ISSUU.

Works List

  • A Lightness of Being (2017) soundtrack for a short film by Ngaio Fitzpatrick (ANU Climate Change Institute
  • FUSE (2017) collaborative work with dancer/choreographer, Jack Riley, as part of a Ralph Indie Residency at Gorman House Arts Centre, Canberra
  • New South Wales Gothic (2017) for 6 players, projected video and magic lantern
    • Premiered at the Australian National University School of Art and Design Gallery, April 2017
  • The Sixth Mass Extinction (2017) for 6-channel tape and 6 suspended sheets of glass, collaboration with Ngaio Fitzpatrick (ANU Climate Change Institute)
    • Premiered at the Fitters’ Workshop, Canberra, January 2017
  • OUR EARS FELT LIKE CANYONS (2016) for 4-channel tape
    • Premiered at ‘Teach yourself to Fly: A Tribute to Pauline Oliveros’, Drill Hall Gallery, Canberra, December 2016
  • Alphabet/Haemorrhage Libretto (1992/2016) for pre-recorded voice (with live performer) and 4-channel tape, text by Mike Parr
    • Premiered by Peter Tregear at the National Gallery of Australia (commissioning body), October 2016
  • Double Drowning Fatality (2016) for magic lanterns (19th century animated slide projectors), reciters and ensemble (double bass, two electric guitars, two percussionists)
    • Premiered by Martyn Jolly and the ANU Experimental Music Studio at Siteworks, Bundanon, NSW, September 2016
  • Bawley Point #1 (2016) for video and one or more ensembles of six musicians
    • Premiered by the ANU Experimental Music Studio at Macquarie University, Sydney, May 2016
  • Bawley Point #2 (2016) for video and two double basses
    • Premiered at Macquarie University, Sydney, May 2016
    • video
  • apocalyptic and integrated (2016) for small ensemble, two-channel tape and projected video
    • Premiered by Andromeda is Coming and the ANU Experimental Music Studio, Art, Not Apart Festival, Canberra, March 2016
  • words stolen from potential friends (2016) for solo voice
  • Grasping things at the root (2016) for large ensemble and projected video
  • Two Vibraphones and Kick Drums (2015)
  • Avoidance Behaviour (2015) for tape, viola da gamba and live electronics (with video projection by Elyse Howe)
  • Lise Meitner (2014) for soprano, electric guitar and sustaining keyboard instrument
  • Kettle and Cathedral (2014) for one kettle and any number of microphones and speakers.
  • Sofia Kovalevskaya (2014) for treble reed instrument, violoncello and two pianos
  • Trombone Quartet (2014)
  • Saxophone Octet (2014) SSAATTBB
  • Emmy Noether (2013) for electric guitar and piano
  • Three Looped Electric Bass Pieces for a Video Installation (2012) for a set of videos called Every Object… by Lauren Davis
    • Installed at the Glasgow School of Art, February 2013
  • For a Number of String Players String Players (2011) 3.3.3.3
  • For a Number of Voices (2011) SSAATTBB
    • score
    • Version for SSAA premiered by Scottish Voices (microtonal version, with two reciters) as part of the Beyond the Semitone Symposium at the University of Aberdeen, October 2013
  • Brass Quintet (2010-’11)
  • For a Number of Musicians (2010) for one or more ensembles of up to 21 musicians
  • Percussion Ensemble (2010) for eight players
  • For Two Vibraphones, Accordion, Violoncello and Double bass (2009)
  • For Four String Players and Treble Instrument (2009) for two violins, viola, violoncello and any treble instrument
  • For Mabel (2008) for solo piano
  • For Eric and Sue Ellen (2008) for violoncello and piano
  • Flute, Guitar and Violoncello (2008)
  • Bass clarinet, Violoncello and Percussion (2008)
  • For Four String Players (2007) for two violins, viola and violoncello
  • Chamber Piece (2006) for three trumpets and tape
  • Confusion (2006) for clarinet ensemble
  • Ràithean (2005) for double bass and percussion
    • Premiered by Kerry O’Brien and the composer, Northern Illinois University 2005
  • A Day in the Life of a Bear (2005) for oboe, horn, trumpet and percussion
    • Premiered by the Northern Illinois University New Music Ensemble, DeKalb, IL, 2005
  • Seal Brother (2005) for baroque flute and bass viola da gamba
    • Premiered by Janet Hathaway and the composer, Northern Illinois University, 2005
  • Piece for String Quartet and Four Projectors (2005)
  • Sketches of Cape Cod (2004) for viola, violoncello and double bass
    • Premiered by Henry Valoris, Jonathan Stuart-Moore and the composer, West Falmouth, MA, 2004
  • 1995 (2004) for double bass and vibraphone
  • Works by Ensemble

    solo

    • words stolen from potential friends (2016) for solo voice
    • For Mabel (2008) for solo piano

    duo

    • Bawley Point #2 (2016) for video and two double basses
    • Two Vibraphones and Kick Drums (2015)
    • Emmy Noether (2013) for electric guitar and piano
    • For Eric and Sue Ellen (2008) for violoncello and piano
    • Ràithean (2005) for double bass and percussion
    • Seal Brother (2005) for baroque flute and bass viola da gamba
    • 1995 (2004) for double bass and vibraphone

    trio

    • Lise Meitner (2014) for soprano, electric guitar and sustaining keyboard instrument
    • Bass clarinet, Violoncello and Percussion (2008)
    • Flute, Guitar and Violoncello (2008)
    • Chamber Piece (2006) for three trumpets and tape
    • Sketches of Cape Cod (2004) for viola, violoncello and double bass

    quartet

    • Sofia Kovalevskaya (2014) for treble reed instrument, violoncello and two pianos
    • Trombone Quartet (2014)
    • For Four String Players (2007) for two violins, viola and violoncello
    • A Day in the Life of a Bear (2005) for oboe, trumpet, horn and percussion
    • Piece for String Quartet and Four Projectors (2005) with four films by Kiril Kirchev

    quintet

    • Brass Quintet (2010-’11) – can be performed with as few as three players under the title For a Number of Brass Players
    • For Two Vibraphones, Accordion, Violoncello and Double bass (2009) – arrangements exist for various combinations of similar instruments (vibraphone parts are playable by a single percussionist, making the piece a quartet)
    • For Four String Players and Treble Instrument (2009)

    large/variable ensemble

    • New South Wales Gothic (2017) for 6 players, projected video and magic lantern
    • Bawley Point #1 (2016) for video and one or more ensembles of six musicians
    • apocalyptic and integrated (2016) for small ensemble and projected video
    • Grasping things at the root (2016) for large ensemble and projected video
    • Some Words and Music (2014) for any number of musicians and reciters
    • Piece for instruments, live and pre-recorded electronics and projected videos (2014)
    • Saxophone Octet (2014) for SSAATTBB – can be performed with as few as three saxophonists under the title For a Number of Saxophones
    • For Twelve String Players (2011) for a self-directed ensemble of 3.3.3.3 – can be performed with as few as three players under the title For a Number of String Players
    • Vocal Octet (2011) for SSAATTBB with optional reciter(s) – can be performed with as few as three vocalists under the title For a Number of Vocalists – microtonal version available with sine wave headphone mixes
    • For a Number of Musicians (2010) for one or more ensembles of up to 21 musicians
    • Percussion Ensemble (2010) for eight percussionists – can be performed with as few as one player, with appropriate changes made to the working title
    • Self-winding Machine (2006) for toy ensemble with a film by Jeff Oman
    • Confusion (2006) for thirteen clarinets and three dancers

    electronic works, soundtracks, performance art and installations

    • A Lightness of Being (2017) soundtrack for a short film by Ngaio Fitzpatrick (ANU Climate Change Institute
    • FUSE (2017) collaborative work with dancer/choreographer, Jack Riley, as part of a Ralph Indie Residency at Gorman House Arts Centre, Canberra
    • The Sixth Mass Extinction (2017) for 6-channel tape and six suspended sheets of glass, collaboration with Ngaio Fitzpatrick (ANU Climate Change Institute)
    • OUR EARS FELT LIKE CANYONS (2016) for 4-channel tape
    • Alphabet/Haemorrhage Libretto (1992/2016) for pre-recorded voice (with live performer) and 4-channel tape, text by Mike Parr
    • Double Drowning Fatality (2016) for magic lanterns (19th century animated slide projectors), reciters and ensemble (double bass, two electric guitars, two percussionists)
    • Avoidance Behaviour (2015) for tape, viola da gamba and live electronics (with video projection by Elyse Howe)
    • Kettle and Cathedral (2014) for one kettle and any number of microphones and speakers.
    • Three Looped Electric Bass Pieces for a Video Installation (2012) for a set of videos called Every Object… by Lauren Davis

    Leave a Reply

    Fill in your details below or click an icon to log in:

    WordPress.com Logo

    You are commenting using your WordPress.com account. Log Out / Change )

    Twitter picture

    You are commenting using your Twitter account. Log Out / Change )

    Facebook photo

    You are commenting using your Facebook account. Log Out / Change )

    Google+ photo

    You are commenting using your Google+ account. Log Out / Change )

    Connecting to %s