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I studied composition with David Maki (2002-'06), Stephen Davismoon (2007-'10) and Katrina Burton (2007-'13). As a composer I am interested in open works which make use of indeterminacy and discontinuity, and anarchic (non-hierarchical) social structures. I often compose mobile moment form works informed by harmonic spectra, involving self-directed ensembles. Most of my works are intended to be approachable by and interesting to both virtuosi and non-virtuosi, especially student and amateur ensembles.

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Current Projects

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  • Ongoing collaboration with Ngaio Fitzpatrick (ANU Climate Change Institute)

  • Ongoing collaboration with artist Martyn Jolly (Former Head of Photography, ANU School of Art) using historic 'magic lanterns' and electroacoustic music

 

Scores

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Scores are available on request, with previews available on ISSUU.

Complete Works List

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Works by Ensemble

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solo

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  • words stolen from potential friends (2016) for solo voice

  • For Mabel (2008) for solo piano

 

duo

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  • Bawley Point #2 (2016) for video and two double basses

  • Two Vibraphones and Kick Drums (2015)

  • Emmy Noether (2013) for electric guitar and piano

  • For Eric and Sue Ellen (2008) for violoncello and piano

  • Ràithean (2005) for double bass and percussion

  • Seal Brother (2005) for baroque flute and bass viola da gamba

  • 1995 (2004) for double bass and vibraphone

 

trio

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  • Lise Meitner (2014) for soprano, electric guitar and sustaining keyboard instrument

  • Bass clarinet, Violoncello and Percussion (2008)

  • Flute, Guitar and Violoncello (2008)

  • Chamber Piece (2006) for three trumpets and tape

  • Sketches of Cape Cod (2004) for viola, violoncello and double bass

 

quartet

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  • Sofia Kovalevskaya (2014) for treble reed instrument, violoncello and two pianos

  • Trombone Quartet (2014)

  • For Four String Players (2007) for two violins, viola and violoncello

  • A Day in the Life of a Bear (2005) for oboe, trumpet, horn and percussion

  • Piece for String Quartet and Four Projectors (2005) with four films by Kiril Kirchev

quintet

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  • Brass Quintet (2010-'11) - can be performed with as few as three players under the title For a Number of Brass Players

  • For Two Vibraphones, Accordion, Violoncello and Double bass (2009) - arrangements exist for various combinations of similar instruments (vibraphone parts are playable by a single percussionist, making the piece a quartet)

  • For Four String Players and Treble Instrument (2009)

 

large/variable ensemble

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  • Figheadaireachd (2019) for string or symphony orchestra

  • New South Wales Gothic (2017) for 6 players, projected video and magic lantern

  • Bawley Point #1 (2016) for video and one or more ensembles of six musicians

  • apocalyptic and integrated (2016) for small ensemble and projected video

  • Grasping things at the root (2016) for large ensemble and projected video

  • Some Words and Music (2014) for any number of musicians and reciters

  • Piece for instruments, live and pre-recorded electronics and projected videos (2014)

  • Saxophone Octet (2014) for SSAATTBB - can be performed with as few as three saxophonists under the title For a Number of Saxophones

  • For Twelve String Players (2011) for a self-directed ensemble of 3.3.3.3 - can be performed with as few as three players under the title For a Number of String Players

  • Vocal Octet (2011) for SSAATTBB with optional reciter(s) - can be performed with as few as three vocalists under the title For a Number of Vocalists - microtonal version available with sine wave headphone mixes

  • For a Number of Musicians (2010) for one or more ensembles of up to 21 musicians

  • Percussion Ensemble (2010) for eight percussionists - can be performed with as few as one player, with appropriate changes made to the working title

  • Self-winding Machine (2006) for toy ensemble with a film by Jeff Oman

  • Confusion (2006) for thirteen clarinets and three dancers

 

electronic works, soundtracks, performance art and installations

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  • I Would Not, If I could, Forget (2022) for live and prerecorded electronics and fretless electric bass, 2 magic lanterns and narrator

  • deò (2020) for low whistle and wind turbine field recordings - featured as part of Ngaio Fitzpatrick's installation Dissonance, commissioned by the Canberra Museum and Gallery

  • Grus Jerrabomberra (2019) three-channel audio installation (cement blocks, old iPhones and bluetooth speakers, BARK Exhibition, Hall; Gaia Hypothesis, Belconnen Arts Centre

  • Gungahlin to Mount Ainslie (2018) stereo playback

  • The Modern Prometheus (2018) for live and prerecorded electronics, 2 magic lanterns and narrator

  • RED (2018) music for Liz Lea's one-woman dance show

  • Age Old Story (2017) for gramophone performer, poet and four performers and channels

  • A Lightness of Being (2017) soundtrack for a short film by Ngaio Fitzpatrick (ANU Climate Change Institute

  • FUSE (2017) collaborative work with dancer/choreographer, Jack Riley, as part of a Ralph Indie Residency at Gorman House Arts Centre, Canberra

  • The Sixth Mass Extinction (2017) for 6-channel tape and six suspended sheets of glass, collaboration with Ngaio Fitzpatrick (ANU Climate Change Institute)

  • OUR EARS FELT LIKE CANYONS (2016) for 4-channel tape

  • Alphabet/Haemorrhage Libretto (1992/2016) for pre-recorded voice (with live performer) and 4-channel tape, text by Mike Parr

  • Double Drowning Fatality (2016) for magic lanterns (19th century animated slide projectors), reciters and ensemble (double bass, two electric guitars, two percussionists)

  • Avoidance Behaviour (2015) for tape, viola da gamba and live electronics (with video projection by Elyse Howe)

  • Kettle and Cathedral (2014) for one kettle and any number of microphones and speakers.

  • Three Looped Electric Bass Pieces for a Video Installation (2012) for a set of videos called Every Object... by Lauren Davis

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