New Yorker Songs for soprano and chamber ensemble (1999-2000).
Saraband and Line, two songs setting texts from The New Yorker magazine, for soprano voice, clarinet/bass clarinet, cello, two pianos, percussion. Première of complete work March 10, 2001. Saraband performed by Harvard Group for New Music, March 5, 1999.
Teen for brass quintet and percussion (March 2000).
Four short interpretations of abstract texts, written for the Atlantic Brass Quintet and Robert Schulz. Performed May 19, 2000, Harvard,
This for chamber orchestra (March 1996).
Performed by University of East Anglia (UEA) New Music Ensemble, March 1996.
Three Friends (1997-2000).
Postcard to Pedro / reBecCa / scherzo a sinistra di èrica / Finale and chat-rooms.
The first three movements are made from the sounds of a particular acoustic instrument (piano, bass clarinet and accordion respectively), the Finale throwing them into virtual conversation. Première of complete work at Longy School of Music, Faculty Concert, February 6, 2001.
There are no sermons in stones (May 1995).
Honourable Mention at the Stockholm Electronic Arts Award 1995. Special Prize at the EAR '95 International Electroacoustic Competition. Performances in UK, Sweden, Hungary, USA. Choreographed by Rowan Thorpe (Wellington, New Zealand: Aug 1999).
Chaconnes for violin and electronic sounds (2001).
Workshop reading with Rolf Schulte, Harvard, November 19, 1999.
the bar Installation for pre-concert social gathering (Longy: May 2001).
With Ryan Ellis and Tess Heder. As bottles and glasses are placed on the table, the impact makes a resonant chiming and, occasionally, triggers a soundbite from the upcoming concert.
who's in charge? Interactive installation for concert foyer (UEA: Oct 96).
Arriving audience members "play" sounds and slide projections without physical contact.
Gipsy fugue (UEA: June, Nov 1996).
First performances using the "funny fiddle", a violin-like electronic performance instrument. An ongoing project. Featured on UK network television, and presented at the 2000 national conference of the Society for Electro Acoustic Music in the US (SEAMUS).
The Snow Queen (Maddermarket Theatre, Norwich, UK: Dec 1995).
Character themes, underscore and effects for the Hans Christian Andersen fairy tale, in Stuart Patterson's adaptation. Directed by Jane Rutherford.
Nights at the Circus (UEA Studio Theatre: Dec 1995).
Music direction for a new adaptation of Angela Carter's novel. Arrangements and original music for eight-piece band.
The Violence of Architecture for tape/video (UEA & Central St Martins: Oct 1995).
With Simon Withers (filmmaker), commissioned by Sonic Arts Network. Festival performances in UK, Sweden, Norway, USA.
The Duchess of Malfi (Maddermarket Theatre, Norwich, UK: Dec 94).
Original music for a production of John Webster's play, directed by Jane Rutherford. Performed live on solo violin.
String arrangements for the band Velvia (autumn 97).
Soundtracks for eight short student films (Sainsbury Centre for Visual Arts, UEA: spring 97).
Ten short instrumental works for dance during the International Dance Course for Professional Composers and Choreographers (Bretton Hall, Yorkshire: July 96).
Soundtracks for three short animated films by students at Norwich School of Art and Design (June 95, June 96).
Getting home tape (Morley College, 1991); Wake for violin and tape, Untitled piece for trumpet, cello and tape (Dartington, July 93); Catalysis for oboe, harp and tape (Nov 93). Many small and varied pieces with a commercial orientation; some commercial video work (1993 - 94).