What does it mean to be a patron through Music Patron? My patrons aren’t passive supporters. They are part of a small group who value the time, care, and experimentation behind new music. As one of my patrons, you’ll receive regular updates, reflections, and insights into my creative process — and you’ll know that your…
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A Book of Fire and Shadow: Sixteen Preludes for Organ (2026) This collection of preludes is conceived as an interconnected cycle, in which each piece foreshadows, echoes, and transforms materials drawn from within the set itself. Through free variation and reimagining, motifs, harmonic colours, rhythmic gestures, and textural ideas recur and evolve across the sixteen…
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Dedicated to Katia Farn Programme Note The music is inspired by a deeply personal engagement with the organ, from fairground to cathedral, drawing on distortions, memories, fantasies and inventions shaped by my experiences as a listener of organ music. Additionally, it reflects moments of direct interaction with the instrument—brief, exploratory encounters with the manuals and…
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Programme Note Dedicated to Matthew Lee Knowles Amorphic Hymns are my compositions for organ that explore the idea of composed resonance—sound shaped as much by memory and imagination as by musical material itself. They are inspired by distant recollections of hearing church music and congregational singing from outside church buildings, sometimes from a distance, as…
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Programme Note vivid forms of imagery emerge [1 of 3] hazy dimensions of numbness [2 of 3] fullness as a strengthening property [3 of 3] Dedicated to Thomas Mellan These three organ compositions stand as independent works, each with its own distinct character and expressive voice. Yet, through the shared threads of self-borrowed and transformed…
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Programme Note Dedicated to Alastair White The music is inspired by a deeply personal engagement with the organ, from fairground to cathedral, drawing on distortions, memories, fantasies and inventions shaped by my experiences as a listener of organ music. Additionally, it reflects moments of direct interaction with the instrument—brief, exploratory encounters with the manuals and…
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Programme Note Dedicated to Fernando Velázquez Amorphic Hymns are my compositions for organ that explore the idea of composed resonance—sound shaped as much by memory and imagination as by musical material itself. They are inspired by distant recollections of hearing church music and congregational singing from outside church buildings, sometimes from a distance, as enthusiastic…
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Version for bassoon Dedicated to Mavroudes Dakis Troullos Program Note: as they fall into the sea originated as a transformation of materials from my ESOlo project, which involves creating individual solos for principal players in the English Symphony Orchestra (ESO). These solos serve as the foundation for an orchestral composition, with each musical idea contextually…
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For organ Programme Note vivid forms of imagery emerge [1 of 3] hazy dimensions of numbness [2 of 3] fullness as a strengthening property [3 of 3] These three organ compositions stand as independent works, each with its own distinct character and expressive voice. Yet, through the shared threads of self-borrowed and transformed musical materials,…
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For Violoncello Programme Note: born of flesh, bone and brain continues and transforms material from my ESOlo project, which involves creating individual solos for principal players in the English Symphony Orchestra (ESO). These solos form the basis of an orchestral composition, with each musical idea contextually linked through transformative processes. This approach fosters cohesion in…
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Skye Songs [1]: seven songs for mezzo-soprano and piano The idea of setting my poems for voice and piano originated with my dear friend and composer, Sadie Harrison. In 2024, I published a substantial collection of poems in Collected Poems Volume 1, issued by Vision Edition. Sadie wrote a very sensitive and insightful foreword to…
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Program Note: as they fall into the sea originated as a transformation of materials from my ESOlo project, which involves creating individual solos for principal players in the English Symphony Orchestra (ESO). These solos serve as the foundation for an orchestral composition, with each musical idea contextually linked through transformative processes. This approach ensures cohesion…
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for double bass Written across two sets, outpourings from a noisy brain is a series of double bass solos designed to be performed in several iterations. First, parts 1 and 2 can be played as complete through-composed solos. Second, any number of sections within parts 1 or 2 or drawn from parts 1 and 2…
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Program Note: The ESOlo project involves creating individual solos for principal players in the English Symphony Orchestra (ESO). This approach allows me to collaborate closely with the orchestra, making them familiar with my work before tackling a larger piece. Each solo, lasting 8-11 minutes, is an intense exploration of ideas, interconnected as iterations and transformative…
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Program Note: The ESOlo project involves creating individual solos for principal players in the English Symphony Orchestra (ESO). This approach allows me to collaborate closely with the orchestra, making them familiar with my work before tackling a larger piece. Each solo, lasting 8-11 minutes, is an intense exploration of ideas, interconnected as iterations and transformative…
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For scordatura acoustic guitar and harp. duration cira 5 minutes. This is a timecode-supported polytemporal composition. Dedicated to Sonia Stevenson
for harpsichord Dedicated to Anna Ferro. This piece is composed for a five-octave, double-manual instrument. Colouration is at the discretion of the performer. Duration circa 4 minutes.
for harpsichord Dedicated to Sylvia Jungé Duration circa 6 minutes This piece is composed for a five-octave, double-manual instrument. Colouration is at the discretion of the performer.
For harpsichord Dedicated to Jane Champion for her 60th birthday. This piece is composed for a five-octave, double-manual instrument. Colouration is at the discretion of the performer. Duration circa 5:00
for harpsichord Dedicated to Stephen Davismoon for his 60th birthday. This piece is composed for a five-octave, double-manual instrument. Colouration is at the discretion of the performer. Duration 10 minutes beatingit lingers just beyond rhythm franticstickyalways a step ahead this dance never quite fades awayto a flickera touch the music spinsa blur that wants to…
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Five Pieces for Harpsichord. Bill Stickers Will Be Prosecuted! Cold Air Baffles Slippery When We Slow! Loose Chippings Heavy Plant Crossing This piece is composed for a five-octave, double-manual instrument. Colouration is at the discretion of the performer. I wrote these pieces over several days while living on the Isle of Skye in December 2001.…
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for voices, harp and accordion A Heave Ho (voices, harp, bell-like percussion) Drunken Sailor (voices and accordion) Haul on the Bowlin (voices) Hilo (voices, harp) Who Can Sail? (voices and accordion) Lyme Bay Moonrakers, a Lyme Regis community shanty group, partnered with Somerset-based composer Marc Yeats and electricbackroom STUDIO to compose five contemporary vocal pieces…
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Instrumentation: This is a timecode-supported polytemporal piece. black, less and yellow is dedicated to Jane Champion for her 60th birthday. Program Note: There is no programmatic intention in what unfolds as sound in this piece: any or no relationship to the title and the sounding music is forged at the discretion of the composer, performer…
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Dedicated to Ondrej Vesely This is a timecode-supported polytemporal composition. In the arts, bricolage (French for ‘do-it-yourself’ projects) is the construction or creation of a work from a diverse range of things that happen to be available. bricolage III is no exception. Here, musical materials are transformed, recontextualised as necessary and assembled from several pre-existing pieces, particularly the guitar…
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For Clarinet in Bb dedicated to Szilárd Benes Program Note: This piece was composed in response to a call from clarinetist Szilárd Benes for short solo pieces as part of his ‘Rucksack Project’. Excited by Szilárd’s prodigious playing technique, I set out to write a solo based on new and transformed materials from my ESOlo…
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dedicated to Anna Ferro For horn and ensemble Instrumentation Program Note: This is a timecode-supported polytemporal work. There is no programmatic intention in what unfolds as sound in this piece: any or no relationship to the title and the sounding music is forged at the discretion of the composer, performer and listener. Despite this statement,…
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ESOlo IV For Violin dedicated to Zöe Beyers Program Note: The ESOlo project involves creating individual solos for principal players in the English Symphony Orchestra (ESO). This approach allows me to collaborate closely with the orchestra, making them familiar with my work before tackling a larger piece. Each solo, lasting 8-11 minutes, is an intense…
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ESOlo III dedicated to Joely Koos Program Note: The ESOlo project involves creating individual solos for principal players in the English Symphony Orchestra (ESO). This approach allows me to collaborate closely with the orchestra, making them familiar with my work before tackling a larger piece. Each solo, lasting 8-10 minutes, is an intense exploration of…
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ESOlo II For Flute dedicated to Laura Jellicoe Program Note: The ESOlo project involves creating individual solos for principal players in the English Symphony Orchestra (ESO). This approach allows me to collaborate closely with the orchestra, making them familiar with my work before tackling a larger piece. Each solo, lasting 8-10 minutes, is an intense…
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ESOlo Idedicated to James Topp Program Note: The ESOlo project involves creating individual solos for principal players in the English Symphony Orchestra (ESO). This approach allows me to collaborate closely with the orchestra, making them familiar with my work before tackling a larger piece. Each solo, lasting 8-10 minutes, is an intense exploration of ideas,…
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