FUTURE PROJECTS

Projects that are brewing…
If anything takes your fancy, feel free to contact me.

currently working… (August – November)

a hollow heart’s temptation – for mixed quintet, Ensemble Offspring
adrift in the dark which is now – for solo piano, Jacob Mason and Tamara Geißner
biomorph – for solo Sheng, for Wu Wei
death and desire – for large ensemble, Studio Musikfabrik (*)
.. as it seems to be fading – for clarinet/bass clarinet, accordion and vl’cello, Trio Tempestoso (*)

Stand-Alone works

SOLO

adrift in the dark which is now – for solo piano, for Jacob Mason and Tamara Geißner [Basel/Stuttgard] (2022) [11′ – 13′]

d(r)ench – for solo vibraphone, for Luis Azcona [Bern] (2023) [9′]

bypass – for solo violoncello, for Robbie Bui [USA] (2022-23) [7′ – 8′]

sinking stairs – for solo Tubax/Bari Sax, for Samuel Dong [Sydney] (2023-24) [6′ – 7′]

evaporating traces of… – for log-drum and live electronics, for Aditya Bhat (2024) [installation]

CHAMBER

.. as it seems to be fading – for Clarinet/Bass Clarinet, Violoncello & Accordion, for Trio Tempestoso (2022) [9′ – 10′]

embedded in aether’s ambience – for two pianos (2022) [17′]

a stroke of mundanity – for clarinet, piano & electronics; for Ray Brien and Ben Smith (2022) [5′]

Autumn; the second following – for Saxophone Quartet [AATB], for Olinda Quartet [Sydney] (2023-24) [6′ – 8′]

bleeding line/puncture wound – reworking for Two Soprano Saxophones and electronics, for Sam Dong and Angus Key (2023-24) [10’+]

LARGE ENSEMBLE/ORCHESTRA/CONCERTANTE

piano concerto – for piano and chamber orchestra [TBD] (2024-25) [20′]

an unsettling subconscious, hiding the reality’s ruination – for two piano soloists, orchestra and choir (2024) [35’+]

broken black jacket – evening length work for Large Ensemble, (2024-25) [60′]

nucalyptus – for 4 simultaneous ensembles (2024-25) [34′]

New Concertante Work – for Cello and Large Ensemble (2025-26) [30′]

everything in the universe is the smell of burnt almonds – Concertante Work for Piano, voice, concertante ensemble & Orchestra (2026-27) [installation ~] for Matthew Lee Knowles


CYCLES & SERIES

skin on skin; contact (2021-25)

1. EXO (2022-23)

choreographed accumulative work – for soprano, bass flute and double bass
for Emily Thorner, Rebecca Lawrence and Rebecca Blau

(i) echophemera [6′] solo double bass (2021) under revision

I. lapse [7′] soprano, bass flute & double bass

(ii) tactility/mobility [45″] solo double bass*
(iii) under veils of breath [6′] solo bass flute (2022)

II. how hearts (un)bind [12′] soprano & bass flute

(iv) the inane beauty of its surface [7′] solo soprano (2021, rev. 2022) under revision
(v) bridges; between you and me [3′ – 4′]*

III. more is less [13′]

* – only available as part of EXO – all other movements can be extracted and/or partitioned off.

2. NEST (2023-25)

I. pain, in seek of pleasure – Tetraptych (2022-23)
  1. that place, apart from you – for Flute, Prepared Harp & Violoncello, for .abeceda [Slovenia] (2022) [7′]
  2. death and desire – for Large Ensemble, commissioned by Studio MusikFabrik with funds from the Landesmusikrat Nordrhein-Westfalen [Cologne] (2021-23) [12′]
  3. afterlife – for Bass Clarinet & augmented ‘Drum-Kit’, for Aléoç Duo [Bern/Spain] (2022-23) [11′]*
  4. intervening – for Clarinet (Bb) and Vibraphone, for Aléoç Duo [Bern/Spain] (2022) [6′] [partner piece to afterlife]
II. by the hands of those who love me – Pentatych (2022-25)
  1. participants in silence’s deafening – for Bass Clarinet and Double Bass, for Tash and Sam (2022) [5′ – 6′]*
  2. a hollow heart’s temptation – for Bass Flute, Bass Clarinet, Percussion, Harp and Violoncello, for Ensemble Offspring; commissioned as part of the Hatched Composer Intensive (2022) [9′]
  3. New Work – for mixed ensemble, for .abeceda (2022-23) [12′]
  4. the hearth – for string quartet, TBC (2024) [25′]
  5. wrapped in casts, both arms, i… – for Clarinet(s) & Ensemble (2024-25) [15′]
III. in series – with Richard Haynes (2020-)
  1. incubation (2020) – for solo Clarinet d’Amore
  2. invitation (2020/22) – for solo Clarinet d’Amore (excerpted from incubation)
  3. instigation (2022-) – for Clarinet d’Amore and mixed ensemble (TBD)

more…?

3. the depths of [my love for] you (2022-23)

song cycle – for .abeceda

4. we are frozen (2022-24)

for voice/s, saxophone/s ~ with There is no air in space (EU)

5. tree tongue time traveller – a chamber opera (2022-24)

for baritone, ensemble & electronics
with Justin Spenner

PART ONEThe Traveller’s Curse

  1. embedded truths
  2. longing
  3. here it lays
  4. the heart’s vulnerability
  5. formidable dialogues

PART TWOthe shadow of the heart

6. sympathetic severance
7. departure; despair; a reckoning

6. .. of mind without mind of .. – Cantata/Requiem cycle (2021-24)

for solo baritone voice, concertante group, male chorus and orchestra; accumulative work

PHASE ONE – neurological nexus (2021-23)
  1. destination unknown – for bass clarinet duet (2021-22) [11′]
  2. antivista – for solo viola (2022) for Phoebe Green [2.5′ – 3′]
  3. on the stale lamina – for baritone voice and viola (2022) [4.5′]
  4. New Work – for baritone voice, viola, 2 bass clarinets & percussion trio (2022-23)

more to come…

PHASE TWO – cantata/requiem (2022-24)

introit: from the dark [6′]
I: name it if you will [11′]
II: tasteless, but in fear [14′]
III: vulnerable vanity [5′ + 7′]
IV: at a loss for [3′ – 4′]
postlude: was my name… [7′ – 8′]

Works from Phase One are interwoven into the material of Phase Two; ultimately, the entire work is a collection of juxtaposed and expanded materials that are malleably revisited throughout.


imaginarium (2022-)

1. a place for everything; everything in its place (2023)

installation with combined forces – co-created with Xiaole Zhan, Aditya Bhat and more…

2. tracing in timeless tandem – oddities and tangents

(ia) .. an intermittent breath .. – for solo Accordion, commissioned by Ghenadie Rotari for the ‘Quarantine Diaries’ project [IT] (2021) [2′ – 3′]
(ib) between broken breaths – for solo Accordion [5′]
(ii) chamber of meteorology – for Clarinet, Violin, Violoncello and Piano, for Collide-O-Scope [NYC] (2022) [10′ – 11′]
1. the eternally fluctuating pattern [5′]
2. the storm with no eyes [5′ – 6]
(iii) as vision slides between realities – for Electric Guitar and Ensemble, for Rueben [DE] (2023-24) [TBD]
(iv) New Work – for Accordion and Electric Guitar [DE] (2022-23)
(v) inverting breath’s bruising pace – for solo Accordion, commissioned by Ghenadie Rotari [EU] (2023) [12′ – 15′]
(vi) the heat of each star’s beating heart – for Electric guitar duo, for Duo Santorsa-Pereyra [EU] (2023-24) [TBD]
(vii) under the ear’s heaving lung – for Accordion and ensemble, for Ghenadie [EU] (2023-24) [17′]
(viii) breathless.. – accumulative installation project; for solo Accordion, solo Electric Guitar… (2024-)
(viii) ink – for Kingma-system flute, tam-tam, electronics and installation, for Gavin Stewart [UK] (2023-24) [25′ – 30′]

3. The Triduum of Light – operatic triptych

moths – for 3 vocalists, ensemble and electronics (2021-24) [75′ – 90′]
premiere season in London, Berlin, Paris, Sydney [TBC], 2024-25

fireflies – for 3 voices, 3 dancers, solo oboe da caccia, ‘baroque’ sextet, exterior quartet & electronics (2025-)

arachnids – 3 voices, video, electronics and 3 instrumentalists (2027-) hommage à Aperghis


4. amber series – works for historical instruments

part of fireflies opera from The Triduum of Light

PHASES ONE – strange circumference of time, for Conservatorium van Amsterdam (2023-25)

amber (i) all that ever remains – for solo 7-key bassoon, for Luis Santos (2023) [8′]

amber (ii) cemented in a prison of anticipation – for Baroque String Trio, for CvA (2023) [4′]

amber (iii) gone; never lost, never forgotten – for Tenor Recorder, 7-key Bassoon + Viola da Gamba (2023) [7′]

amber (iv) what strange creatures we come from, much stranger do we become, for mixed historical sextet, for students of Conservatorium van Amsterdam (2023) [12′]

PHASE TWO – for Molly McDolan

lumikinaesthesis – for Oboe da Caccia + Electronics (2024) for Molly McDolan

5. IF (2022-24)

spatialised installation work; for 19-performers

soprano & baritone voices, flute/bass flute, oboe, bass clarinet, bassoon, horn, trumpet, trombone, percussion, harp, piano, 2 violins, viola, 2 violoncellos & double bass

6. fabric of one’s mettle – with WHACKollective

(i) lustre – for solo percussion
(ii) filigrane – for four percussionists; spatialised
(iii) TBD
(iv) rind – operatic collage; voice, percussion trio and ensemble

* – can also be performed in a concert edition

7. first time seeing rain… – interleaved triptych (2023-25)

project 1: experiencing expression; the unwounding – for Brian Ellis; multiple guitars, interactive electronics, and lighting (2022-25)

project 2: [untitled] – for Matthew Lau; detuned auto-harp, multi-percussion set up, electronics, and lighting (2022-23)
in partnership with…

project 3: [untitled] – for Alex Garde; bass drum, multi-percussion set up, electronics, and lighting (2024)

All three works can be interleaved as a triptych, diptych, or single project in a full evening-length experience under the umbrella title of ‘first time seeing rain…’, which incorporates various interludes at certain stages of conjoining. There are embedded works within each project, which contribute to the overall structure of the work; an accumulative mass of activity wound together in a sea of threads and visions.


8. lichen series (2023-25)

  • lichen (i): the living raincoat – for spatialised Alto, three percussion and prepared harp (2022-23) [11′]
  • lichen (ii): survival instinct – for three voices [MzS.A.Bar] and prepared harp (2023/24) [7′ – 8′]
  • lichen (iii): the intimacy of being – for four voices, saxophone quartet and two percussion (2024) [15′]
  • lichen (iv): mutual beneficiaries – for four voices, concertante group, choir and orchestra (2025-27) [30′]

9. .. if water held its shape – malleable cycle (ongoing)

PART ONE: the outer ring (Triptych 1/2)

I: Fluid – for violin duo (9′)
II: Shape – for Flute and Ensemble (22′)
III: narratif; amid the elements – for Narrator and Ensemble (25′)

PART TWO: microns (Diptych)

I: Lamina – for Wind Quintet (15′)
II: Moments of Release – for Large Ensemble (40′)

PART THREE: tracing in the melting.. (Triptych 2/2)

I: Consumption (i) – installation for SAATBB chorus and percussion (60′)
II: Sweating into land – for Violin Duo and Ensemble (29′)
III: Consumption (ii) – for Large Orchestra, SAATBB soloists and percussion concertante group (90′)

10. biomassworks with Sheng, for Wu Wei

  1. biomorph – for solo sheng (2022-23) [9′ – 11′]
  2. the deeper root of their thinking – for sheng and spatialised electronics (installation)
  3. biomass – concerto for solo sheng and large ensemble

11. the elephant in blue

installation opera project – with Ensemble Zeitstoff and others

part one: (untitled) – (2021/4-26) [72′] for voice, narrator & electronics + trio + quartet

  • prologue:rain – ensemble + electronics [5′]
    • fade – voice + trio [6′]*
    • please – voice, ensemble + electronics [8′]*
  • pitter, patter (i) – voice + double-bell trumpet [7′]*
    • waiting – voice + mixed quartet [15′]*
    • interior – narrator + trio [5′]
  • pitter, patter (ii) – voice + bass clarinet [6′]*
    • senses – double-bell trumpet + ensemble [8′]*
    • cold – voice, narrator, bass clarinet, ensemble [9′]*
  • epilogue: (what is blue?) – narrator, ensemble + electronics [3′]

(*) – work is extractable as a single concert work, or in the case of the pitter, patter pieces, they may be paired together, or (i) may be paired with senses and (ii) with cold. Unmarked works are only available as part of the elephant in blue opera.


part two: be… still (TBD)

part three: brink (TBD)

part four: (blue)… is… (TBD)

part five: stay… with… (TBD)


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