Works

2025, in progress
Flute, oboe &
clarinet
10'		 Wild flowers of the holy land
2025, in progress
Music for dance
(fixed media)
10'		 Untitled
2024-25, in progress
Euphonium, tuba &
fixed media
16'		 Drips like love
2024
Soprano voice,
soprano saxophone,
perucssion, viola &
MIDI keyboard
9'		 Hydriotaphia / urn-burial
2024, under revision
Vocal trio (SSMs) &
fixed media
7'		 Happiness
2024
Cello & live electronics
/fixed media
6'		 Tephra

Cello - Joanna Stark

Recorded live at Plug 2: Sonic Nights
Ledger Recital Room, Royal Conservatoire of Scotland
29th April, 2024
2024, under revision
Piccolo/flute,
baritone saxophone,
horn, percussion,
violin, double bass &
fixed media
12'		 Floodmeadow (marrow, spiranthes)

Flute/piccolo - Tjasa Pauko
Baritone saxophone - Aidan Fowler
Horn - Kate Szumowski
Percussion - Calum Huggan
Violin - Masha Zhuravlova
Double Bass - Callum Cronin

Conductor - Kentaro Machida

Recorded live at Plug 7: Calum Huggan & RCS MusicLab
Stevenson Hall, Royal Conservatoire of Scotland
2nd March, 2024
2023, under revision
B♭ clarinet
5"		 Couture II
2023, under revision
Soprano voice &
violin
24'		 Four ghosts
2022, under revision
Cello
5"		 Couture I
2022
Ensemble		 Improvisation 10/12/22

Electroacoustic/noise improvisation using Koma Electronik Field Kit and Field Kit FX, spring reverb tank, marbles, bowl, fork, and screwdrivers. Gets very loud!
2022
Piano		 Ingénue

Piano - Angeliki Giannopoulou

Recorded live at Plug 5: Keyboard Concert
Royal Conservatoire of Scotland
27th April, 2022

PROGRAMME NOTE

Ingénue began as a piece about beauty, and the way in which beautiful things decay. I'm often drawn in by the prospect of reconcilling opposing themes, and the opposition between beauty and decay is certainly one fit for artistic plunder, but so too does it contain a remarkable unity. So many beautiful things seem to resist the prospect of decaying through their beauty itself - we are often too struck by a beautiful work of art, for example, to even consider that one day it may fade and crumble - yet so much of the promise of decay finds itself present amongst beauty. It's often in the imperfections, like the subtly faded hues of an old photograph, or the wrinkles on the face of a loved one, that we're able to find true beauty.

Accordingly, Ingénue exists always as music in decay (it feels presumptuous for me, the composer, to label it beautiful - perhaps only in an arch-modernist fashion); the musical lines are torn and compressed, the strict internal logic of the piece disrupted by an ever-increasing magnitude, towards a final collapse seemingly prophesied in the first few moments. Yet within that collapse, a tender silence is found, where echoes of what once was sing forth into the emptiness, the last reminder of everything we have just experienced.

The ingénue seemed a fitting namesake, and I considered the myriad ways she might fit into the present dialectic; the traditional view might be that her innocence is in danger of being corrupted by the latent sexuality often present (yet unacknowledged) within the archetype. Yet another perspective presented itself, that to craft this artificial purity of femininity, a living, thinking person must first be displaced - the beauty of internal life, and the decay of being reduced to a hollow parody of yourself.