FUTURE PROJECTS

SOLO

the grains, pressed on membranes of the inner ear – for solo double bass, for Will Hansen; a gift [Sydney] (2021) [4′]

biomorph – for solo sheng, for Lung-Yi Huang and Wu Wei [Taiwan/Berlin] (2021-22) [7′ – 8′]

the republic of dreams – for solo percussion, for Aditya Bhat (2021) [9′]

luna – for solo clarinet in A, for Jacob Wolf [USA] (2021) [9′]

epicarp – for solo violoncello

tincture Ii – for solo Bass Flute, for Lamorna Nightingale as part of Hatched HOME Academy (Ensemble Offspring) [Sydney] (2021) [TBC]

sonatine – this mind made war – for solo Violoncello, for Juan Aguilera Cerezo (2021) [12′]

… what is said with that silver tongue … – for solo Bass Oboe (2021-22) for Mikey Sluman [London] [6′]

a sieve through the atmosphere – for solo flute (2021-22) for Paula Rae [Melbourne] [7′]

all that ever remained – for solo 7-key Bassoon, for Luís Tasso Athayde Santos [Amsterdam] (2021-22) [6′]

New Work – for solo Accordion, for Ghenadie Rotari (2022) [Trieste] [15′ – 20′]

the transfiguration of light: symptoms – for solo ‘Heavily-Prepared’ violin (2022) [4′ – 5′]

New Work – for solo Tenor/Bass Recorder, for Sylvia Hinz [Berlin] (2022) [11′]

SOLO + ELECTRONICS

evaporating traces of… – for log-drum and live electronics, for Aditya Bhat (2021) [8′]

d(r)ench – for Vibraphone and Electronics, for Luis Azcona [Bern] (2021) [9′]

colour has somehow seeped from their frame – for prepared Disklavier and tape, for MCM [Melbourne] (2021) [4′]

suffering – for Kingma flute, voice & electronics, for Gavin [London] (2021) [6′]

sinking stairs – for solo Tubax and live electronics, for Samuel Dong [Sydney] (2022) [6′]

transparent channel of truth – for vocalising Tuba, for Tom [Hanover] (2021) [6′]

corridor to nowhere – evening length work for Thomas Pfaffinger [Hanover] (2021-22) [45′ – 50′]

ink – for Kingma flute, tam-tam & electronics, for Gavin Stewart [UK] (2021-22) [25′]

VOICE

the shadow of the heart – for solo Voice, for Tyler Bouque [Boston] (2021-22) [TBC]

i. the shadow of the heart is found beneath the… [4′ – 5′]
ii. the shadow of the heart bends in the breeze of the dull light’s… [6′ – 8′]
iii. the shadow of the heart writhes amongst the tarnished coils of… [5′ – 6′]

who knows – for solo High-voice, for Christon Carney [USA] (2021) [4′]

New Work – for solo Voice, for James Pecore [NYC] (2021) [4′]

New Work – for 6 amplified Voices + Tape (2021-22) [15′]

New Work – for SATB choir (2021) for MCM [Melbourne] [5′] (text: James Joyce, Poems Penyeach)

katija; the courageous, cantankerous and charismatic – monodrama, for solo vocalist, electronics and set [in developmentfor Kelsey Cotton [Europe] (2023) [40′]

DUO/TRIO

what is deliberately erased; (anti-)tmeses – for Violin, Violoncello and Piano, for MCM [Melbourne] (2021) [5′]

New Work – for Flute, Violoncello and Piano, for Gavin and Friends [UK] (2022) [12′]

New Work – for Soprano Saxophone, Percussion & Harp, for Mira, Aditya and Sam [Melbourne] (2021-22) [7′]

(un)bind – for Prepared Viola and Double-Bell Trumpet (2021) [5′ – 6′]

we are frozen – for Voice and Saxophone(s) (2022) for There is no air in space [50′] ongoing

CHAMBER

New Work – for Saxophone Quartet [AATB], for Olinda Quartet [Sydney] (2021) [6′]

there were times when only her eyes spoke – for mixed sextet, commissioned by the Impulse New Music Festival (2021) for Brightwork Ensemble, with funds from the Brightwork Fellowship Scholarship and Syzygy Ensemble via the University of Melbourne [Los Angeles/Melbourne] (2021) [8′]

New Work – for spatialised percussion quartet, for WHACKollective (2021) [15′]

New Work – for 6 voices and electronics, for Formant (2022) [Brisbane] [20′]

New Work – for voice + four instruments, for Persistence Festival and Collideoscope New Music (2022) [7′]

lamina – for spatialised wind quintet (2021-22) for PRISM Ensemble [20′]

New Work – for Oboe Quartet (2022) for Asyla Quartet [Australia/London] [12′]

LARGE ENSEMBLE/ORCHESTRA

touch, taste tenacity – for Soprano Saxophone and Small Ensemble, for Mira Stephens (2021) [18′]

New Work – for Large Ensemble, for Renee Baker and the Chicago Modern Orchestra Project (2022) [15′]

(un)bound – for solo Prepared Viola, solo Double-Bell Trumpet and Ensemble (2022-23) [17′]

New Concertante Work – for Cello and Large Ensemble, for Juan Aguilera Cerezo (2023) [30′]

broken black jacket – for Large Ensemble, (2023-24) [45′]

nucalyptus – for 3 simultaneous ensembles (2024) [22′]


NEST [2020-]

PART ONE: HALO [2020-21]

  1.  ring-moon – for solo Double Bass and prepared bows (2022) [10′]
  2. (im)pure – for Prepared Harp (2020-21) for Sam Ramirez [8′]
  3. HALO – for Prepared Harp, Double Bass and Electronics (2021-22) [25′]
  4. pale spaces (i) – for solo Alto Flute, for Phoebe Bognár (2021) [7′]
  5. pale spaces (ii) – for Alto Flute, Prepared Harp, Tuba, Prepared Double Bass and Electronics (2021-22) [15′]
  6. murk – for Tuba and Prepared Harp (2021) co-commissioned by Sam Ramirez + Sean Burke and Thomas Pfaffinger + Teresa Emilia Raff [10′]

PART TWO: by the hands of those who love me – Triptych (2021-23)

  1. New Work – for mixed trio, for ELISION Ensemble (2021)
  2. the hearth – for string quartet, TBC (2022/23)
  3. New Work – mixed ensemble & electronics for Ensemble Zeitstoff (2022)

PART THREE: sever (2021-23)

  1. sever (i): quietude – for solo prepared Violin (2021) [6′]
  2. sever (ii): the tether of trust – for prepared Violin and prepared Harp (2021) for Strings Crossed [7′]
  3. sever (iii): strings attached – for prepared Viola, prepared Harp and Percussion (2021) [14′]
  4. sever (iv): impressions beneath the surface – for solo Percussion and Ensemble (2021-22) [20′]
  5. sever (v): twine, needle, seed – for prepared String Orchestra (2021-23)
    • [a]unravelling tongues (2021-22) [7′]
    • [b] – joined at the hip (2022) [6′]
    • [c]sown; starts and ends (2022-23) [11′]

PART FOUR: the meteorological garden (Orchestral Triptych)

  1. cold light – desert wind [15′]
  2. anticyclone/stratus-cloud [12′]
  3. moonlight [10′]

toxicology [2020 – 23]

laboratory of mysterious elements [2021 – 22] ~ [in development]

  1. acid, the corroded mind – for solo Bass Clarinet (2021) for Szilárd Benes [10′]
  2. zinccontained arousal – for Cor Anglais, Trombone and Percussion (2022) [27′]
  3. leadenforcing surrender – for mixed septet: Flute, Tenor Saxophone, Trombone, Violin, Violoncello, Electric Guitar, Percussion (2021-22) [8′]
  4. carbon, the silent deathfor solo Viola (2021) for Phoebe Green [7′]

fungus [2022 – 23]

  1. fungus: patch – for spatialised mixed sextet (2022) [25′]
  2. fungus: community – for spatialised vocal sextet [SAATBarB] (2023) [20′]
    • fungus: decay – for spatialised vocal quartet [SATBar] (2022) [15′]
  3. fungus: eco-system – for 2 harps and 4 percussion (2023) [14′]
    • fungus: spore – for 2 harps [6′] (2022)
  4. fungus: phenomenon/the fairy’s ring – for 3 sextets, spatialised (2023) [40’+] installation

lichen series [2023 – 24]

  • lichen (i): the living raincoat – for Alto, three percussion and prepared harp (2023) [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 choir and orchestra (2024) [30′]

The Triduum of Light – operatic triptych

moths – for 3 vocalists, ensemble and electronics (2021-22)
fireflies – for actor, 2 vocalists, 2 players and electronics (2022-24)
arachnids – for 3 vocalists, 3 players, installation and electronics (2025)

cy twombly – cycle

cy’s roses – cycle for various instruments + electronics
  • (i) a scintillating petal scratches beneath…, for trombone, two percussion, double bass + improvised electronics [7′]
  • (ii) bleeding; but not to the point of one’s demise, for tenor saxophone, cor anglais, trumpet, harp and viola [9′]
  • (iii) one’s syntax of contrast is (in)definitely impressed upon the surface, for cor anglais, trumpet, percussion, viola, double bass + improvised electronics [15′]
  • (iv) the vicious and vastness of the imminent darkness, for bass clarinet, tenor saxophone, trumpet, tuba, harp, two violas + improvised electronics [18′]
  • (v) the inner eye, gazing into the pitch of pleasure; one’s release into the abyss, for bass clarinet, tenor saxophone, cor anglais, trumpet, trombone, tuba, harp, two percussion, two violas, double bass + live electronics [24’+]
scultped still – diptych, for two ensembles (superimposed)
  • cycnus, 1979 – for bass flute, bassoon, flugelhorn, trombone, percussion, violoncello [6′]
  • Thicket, 1990 – for oboe d’amore, tuba, percussion, double bass [6′]

matters of uncertainty – for double-bell instruments

  1. understated matter (2020, rev. 2021) – for solo Double-Bell horn, for Christine Chapman [9′]
    1. understated matter (ii) (2021) – version for 2 horns
  2. suspicious matter (2021) – for solo Double-Bell trumpet, for Nathan Plante [8′]
    1. suspicions and sympathies (2021) – version of suspicious matter for 2 trumpets
    2. matters of accusation (2021-22) – for 2 Double-Bell trumpets [15′]
  3. inconclusive matter (2021-22) – for Double-Bell trombone & Double-Bell euphonium [7′]
  4. matters of translation (2022) – for Double-Bell horn and Double-Bell trumpet [13′]
  5. matters of uncertainty (2022-23) – for Double-Bell quartet [40′]

the fabric of one’s mettle

currently under review…



amber series – works for historical instruments

PHASES ONE – strange circumference of time, for Conservatorium van Amsterdam (2021)

amber (i) all that ever remains – for solo 7-key bassoon, for Luis Santos (2021) [8′]

amber (ii) cemented in a prison of anticipation – for Baroque String Trio, for CvA (2021) [4′]

amber (iii) gone; never lost, never forgotten – for Tenor Recorder, 7-key Bassoon + Viola da Gamba (2021) [7′]

amber (iv) what strange creatures we come from, much stranger do we become, for mixed historical sextet, for Conservatorium van Amsterdam (2021) [12′]

PHASE TWO – for Molly McDolan

New Work – for Oboe da Caccia + Electronics (2022-23)

tree tongue time traveler – a chamber opera (2022-23)

for baritone and 8 players

theatre piece ~ after Dante’s Divine Comedy (2023)

for 2 actors, soprano, inner-ensemble of 4 players and outer-ensemble of 10 players

the elephant in blue

part one: (untitled) – (2023) [72′]

  • 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 (2025)

part three: scratch (2025-26)

part four: (blue)… is… (2027)

part five: stay… with… (2027-28)


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