Inspired by the kinetic sculpture of Anthony Howe, which uses the movement of the wind to rotate linked stainless steel armatures around a circular axis, In Cloud Light uses rotational patterns of numbers to generate its pitch material. All the electronics are generated from found metal objects.
Prometheus Bound takes its title from the ancient Greek drama commonly attributed to Aeschylus (c. 524 – c.456 BC). Prometheus was a titan who defied Zeus by stealing fire and thwarting Zeus' plans to destroy the human race. He was subsequently punished by being chained to a rocky mountain.
Most of the harmonic material has been created from a combination of Scriabin’s ‘Prometheus’ or ‘mystic’ chord – pitches C, F♯, B♭, E, A and D and the scale from which it can be derived, known commonly as the overtone or acoustic scale. Almost all of the trombone’s material is constructed from this scale (including transpositions onto each of the pitches of the Prometheus chord).
Premiered by the London Philharmonic Orchestra, with principal trombonist Mark Templeton as the soloist, at the Royal College of Music, conducted by Magnus Lindberg,
Yōkai is the broad term for the various spirits, ghosts and fantastical beings that populate the legends, folktales and ghost stories of Japan. The word is made from two kanji: 妖(yō) – meaning attractive, bewitching, calamity, and 怪 (kai) meaning mystery, wonder. The piece is an attempt to capture the spirit of this beguiling word, for which there is no direct English translation.
Also known as fire tornados or fire devils, these whirlwinds of flame occur when intense heat and turbulent wind conditions combine to form whirling eddies of air. These eddies can tighten into a tornado-like structure that sucks in burning debris and combustible gases. The piece is based around the idea of swirling vortices, increasing in speed and interrupted by updrafts.
The piece is based on the sculpture created by Richard Wilson for Heathrow’s Terminal 2 in 2014. Slipstream is inspired by the exhilarating potential of flight, coupled with the physical aesthetics of aircraft. Constructed in aluminium, the piece aimed to solidify the twisting velocity of a stunt plane manoeuvring through the volume of the new terminal. I aimed to capture this dynamism musically; energetic lines twist and turn with a constant sense of energy.
The tripartite concept of Jo-Ha-Kyū is a dramatic and musical structure - loosely translated as 'beginning-break-rapid', an aesthetic shape of slow beginning, reaching a frenetic climax. I've used this aesthetic shape to create the structure of the piece. The piece is scored for 18 players, and currently at the workshop phase.
for saxophone quartet
2013, 10 minutes
This piece is constructed around several quasi-melodic phrases, which interlock and overlap. Fragments, or tendrils, of spiralling melody emerge briefly from the texture, quickly sinking back and becoming subsumed once more.
When white light strikes a prism, the full visible spectrum of colours is revealed. While not strictly programmatic, it is the sequence of colours displayed that has determined the structure of the piece. The piece is divided into several sections, the character of each section being determined by the characteristics of each colour.
Premiered by the Molinari String Quartet (pictured) at the Conservatoire de musique, Montreal, as a winner of the 5th annual composition competition.
‘Listen to the singing wind’ is a line taken from the poem ‘Wind Song’ by Carl Sandburg. The soprano saxophone is often compared to the singing voice, and the piece is focussed on the vocal qualities of the instrument, yet also exploits its dexterity. The piece has a quasi-improvisatory feel, with a lightness throughout.
A collaborative project with graphic artist Siku, and video artist Ian Dingle, Exodus tells the story of the biblical character Moses. The story begins with Moses being found in a basket in the reeds on the river Nile, through to his parting the waters of the Red Sea.
Premiered at the Guildhall School of Music & Drama.
This piece plays with the sound of the cello, modifying it and altering it in a variety of ways, so that the listener becomes unsure of what is the cello, and what is the electronic sound. While it’s not a literal re-creation of the experience of an auditory hallucination, in which a person ‘hears voices’ speaking to them, the piece is inspired by the nature of this experience.