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Prologue to Suite No. 2
Solo cello and live electronics
7.5 minutes
2025
Intended as an introduction to Bach’s Suite No. 2 and inspired by the concept of ekphrasis, it uses motifs and ideas from the source material to create a modern commentary on the well-loved suite.
7.5 minutes
2025
Intended as an introduction to Bach’s Suite No. 2 and inspired by the concept of ekphrasis, it uses motifs and ideas from the source material to create a modern commentary on the well-loved suite.
Adoration découverte
Soprano saxophone
7.5 minutes
2025
7.5 minutes
2025
Brutus
Solo cello
6.5 minutes
2024
This is a piece from a larger collection of works entitled Dramatis Personae, comprised of solo pieces for string instruments each focusing on a character from a major Shakespeare play.
Composed as part of 2024’s ViU program, Brutus was written for cellist Jaeyoung Chung, an expert improviser and DMA student under Brian Manker. This work explores the character Brutus from Shakespeare’s Julius Caesar. Most of the piece looks at Brutus from the perspective of the other characters in the play; largely Marc Antony in his famous ‘Honourable Man’ speech. However the middle section experiments with graphic notation to allow the performer to improvise a soliloquy based on if the audience had been able to hear Brutus’ thoughts during Marc Antony’s speech.
6.5 minutes
2024
This is a piece from a larger collection of works entitled Dramatis Personae, comprised of solo pieces for string instruments each focusing on a character from a major Shakespeare play.
Composed as part of 2024’s ViU program, Brutus was written for cellist Jaeyoung Chung, an expert improviser and DMA student under Brian Manker. This work explores the character Brutus from Shakespeare’s Julius Caesar. Most of the piece looks at Brutus from the perspective of the other characters in the play; largely Marc Antony in his famous ‘Honourable Man’ speech. However the middle section experiments with graphic notation to allow the performer to improvise a soliloquy based on if the audience had been able to hear Brutus’ thoughts during Marc Antony’s speech.
A Thunderstorm
Solo piano
5 minutes
2024
This piece is based on the work of the same name by Emily Dickinson. Expanding the piano miniature, Creak in the Attic, I elaborated on the poem's narrative elements. Inspired by the
idea of a monster, and the act of battling a growing fear that looms large and seemingly unvanquishable; the poem follows the physical manifestation of a growing thunderstorm complete with monster-like descriptions. There comes a moment when all hope seems lost, this monster seems invincible and the problem will consume all, then suddenly the clouds lift, all is well, and a sense of peace and serenity materializes.
The piece opens with small fragments, nothing quite tangible, slowly developing into thematic material; representing a disembodied problem becoming a monster to be fought. Fighting begins as music moves between registers and momentum increases. Thepiece reaches its climax when the texture is at its largest, expressing the monster theme in its fullest intensity. Finally, after a big arrival, there is a complete shift in mood to illustrate this moment of calm. The rhythm is inactive the chordal texture sets an inactive tone to close the work.
5 minutes
2024
This piece is based on the work of the same name by Emily Dickinson. Expanding the piano miniature, Creak in the Attic, I elaborated on the poem's narrative elements. Inspired by the
idea of a monster, and the act of battling a growing fear that looms large and seemingly unvanquishable; the poem follows the physical manifestation of a growing thunderstorm complete with monster-like descriptions. There comes a moment when all hope seems lost, this monster seems invincible and the problem will consume all, then suddenly the clouds lift, all is well, and a sense of peace and serenity materializes.
The piece opens with small fragments, nothing quite tangible, slowly developing into thematic material; representing a disembodied problem becoming a monster to be fought. Fighting begins as music moves between registers and momentum increases. Thepiece reaches its climax when the texture is at its largest, expressing the monster theme in its fullest intensity. Finally, after a big arrival, there is a complete shift in mood to illustrate this moment of calm. The rhythm is inactive the chordal texture sets an inactive tone to close the work.
Creak in the Attic
Solo piano
1 minute
2024
A piano miniature looking to illustrate the creepy haunting sounds that emanate from an old attic.
1 minute
2024
A piano miniature looking to illustrate the creepy haunting sounds that emanate from an old attic.
Calls from Battle
Alto saxophone and electronics
5.5 minutes
2024
Written as a collaboration project with saxophone performer Brooke Tessmer, Calls From Battle, is a work for alto saxophone and electronics. Following a recording session exploring various saxophone sounds, the idea to recreate sonic vignettes of a battlefield was formed. Using recorded saxophone sounds spatialized around the performance hall, several battle atmospheres were created; a call to arms, a snapshot from the heat battle, a moment of calm around chaos, and longing from loved ones left behind. The solo alto saxophone stars as a person living through these vignettes, commenting and reacting to the situations around them.
Recording available upon request.
5.5 minutes
2024
Written as a collaboration project with saxophone performer Brooke Tessmer, Calls From Battle, is a work for alto saxophone and electronics. Following a recording session exploring various saxophone sounds, the idea to recreate sonic vignettes of a battlefield was formed. Using recorded saxophone sounds spatialized around the performance hall, several battle atmospheres were created; a call to arms, a snapshot from the heat battle, a moment of calm around chaos, and longing from loved ones left behind. The solo alto saxophone stars as a person living through these vignettes, commenting and reacting to the situations around them.
Recording available upon request.
Saxophone Miniature
Alto saxophone
1.5 minutes
2021
1.5 minutes
2021
Capriccio di Sforzo
Solo violin
5.5 minutes
2021
When writing this piece I wanted to balance tension and its release, hence the name, Sforzo, meaning “stress or force” in Italian. This work is all about listening to the growth of tension and how its release is expressed. My challenge was to create different colours while still only using a single instrument; the use of both left and right hand pizzicato, as well as various double stops, chords, and runs, all possible with the unique versatility of the violin, are essential to this colour painting. Additionally, being a violinist, it was an interesting experience to experiment with the limits of my own instrument, as well as discussing extended techniques with my violin colleagues. There is a shared effort with this piece, both with the performer and the listener, adding to the collectivity of the experience.
5.5 minutes
2021
When writing this piece I wanted to balance tension and its release, hence the name, Sforzo, meaning “stress or force” in Italian. This work is all about listening to the growth of tension and how its release is expressed. My challenge was to create different colours while still only using a single instrument; the use of both left and right hand pizzicato, as well as various double stops, chords, and runs, all possible with the unique versatility of the violin, are essential to this colour painting. Additionally, being a violinist, it was an interesting experience to experiment with the limits of my own instrument, as well as discussing extended techniques with my violin colleagues. There is a shared effort with this piece, both with the performer and the listener, adding to the collectivity of the experience.
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