Chamber Works

For Percussion, Carinet and Tuba

Duration - C. 11'

Programme Note:

Written as part of a research project on the nature of player reaction to graphic and non-standard notation (found here), Swenh is a graphic score in 5 parts written for specific participants in the project, following interviews that revealed their tendancies in their interpretation. 

Swenh- was written for Hoi-Yin Ng, Frank Barr and Jamie Smith, and was recorded on the 8th of June 2026

For 2 Sopranos and Mezzo-Soprano 

Duration - C. 4'

Programme Note:

3 Aspects of a Queen About to Die sets the text of Queen Mary I (Mary Queen of Scots) final letter, to her brother-in-law, a few hours before her execution at the hands of the English crown. In the piece the 3 singers each play different aspects of the Queen's personality: The pious, the dramatic and the kind. The piece uses a combination of sung and spoken word. 

3 Aspects of a Queen About to Die was written as part of RCM's CMIA project, and written in collaboration with Eve Maxwell, Ariana Ricci and Lucille Guedj. It was premiered on the 14th May 2026

For Mixed Ensemble

Duration - 10'

Programme Note:

Alauda Arvensis is the scientific name for the Eurasian Skylark, whose population in the UK has seen drastic decline over the last fifty years. The piece In memoriam Alauda Arvensis is about this decline. The upper trio (Flute, Clarinet and Viola) represents the eponymous Skylark, with their erratic calls and sweeping lines, using a fragment of its song. The lower trio (Bassoon, Horn and Cello) represents the overbearing march of industrialisation, with obnoxious noise and mechanical drive. Throughout the piece, we hear the lower trio gradually become more overbearing and dominant as they speed up; overpowering the skylark and taking over the musical landscape of the piece.

In Memoriam Alauda Arvensis was written for the RVW Society's Larks Ascending competition, in which it placed second. It was premiered by Lily Hesper-Dougdale, Juliet Beadle, Katherine Wing, Tomasso Rusconni, Jon Churchett and Nok Him-Chan, and conducted by Wooju Baik, on the 29th April 2026. 

For Soprano, Cello and Accordion

Duration - 4-11'

Programme Note:

Boolean Statements are statements used in coding, named after George Boole. In The Boo(gie)lean Statements, players are given a set of instructions, similar to these coding statements, and are guided by what they hear. Whilst the instructions are very specific, there is scope for the shape and content of the piece to vary wildely from performance to performance.  

The Boo(gie)lean Statements was written as part of RCM's Duo+1 Project, in collaboration with Eloise Werner and Colin Alexander, and recorded on the 28th April 2026

For Brass Ensemble

Duration - 2'

Written for the RCM Fanfare Project, From Concentrate, (named so after the film Brassed Off) uses Fanfare idioms and expansive harmony to create a lound and celabratory sound.

From Concentrate was workshopped by the RCM Brass Ensemble, led by Amos Miller, on the 10th March 2026.

For Saxophone Quartet (July 2025)

Duration - C. 10'

Programme note:

Spate is a Scottish word which means a flood or outpouring of water. Over the course of its three movements the piece transforms, from the still opening, through to a florid and busy finale. The first movement, 'snowmelt' begins with a stagnant unison which gradually begins to thaw. 'Floodplain', the middle movement, regularly speeds up and builds intensity towards the final movement. 'White Water Weaving' has busy passages that bloom out from each other with flowing lines. It ends with the movement filtering out of each part, as the piece dies away.

Spate was commissioned by Rosemary Ball. It was premiered by the Risoluto quartet (Rosemary Ball, Megan Glover, Paco Lee and Kezia Lovick-Jones) on the 9th of October 2025 as part of the RCM Wind Ensemble Concert.

A recording can be found here

For 3 Instruments (March 2025)

Duration - 3'30"+

Written for the RCM New Ensemble, Coronach is a text score based on Coronachs, which are a type of Gàidhlig funeral song. It is part of a series of text based scores inspired by traditional Scottish music and systems for playing. 

The piece was workshopped and recorded by the RCM New Ensemble on the 26th of March 2025.

Whilst no recording exists please feel free to email for access to the score.

For 4-5 Instruments (January 2025)

Duration - C. 2' 30"

Written for the RCM New Ensemble,  Canntaireachd is a text-score based on the concept of learning-by-ear, inspired by the canntaireachd teaching method for piobaireachd playing. It is part of a series of text based scores inspired by traditional Scottish music and systems for playing.

The piece was workshopped and recorded by the RCM New Ensemble on the 29th January 2025. A recording can be found here.

For Saxophone Quartet (November 2024)

Duration - 3' 

A pedagogical work for saxophone quartet, taking elements from Scottish trad music.

For 3-6 Instruments (October 2025)

Duration - C. 3' 30"

Written for the RCM New Ensemble, Ceòl is a text-score based on Scottish birdsongs (that have been 'pentonisized') and traditional piobaireacht structures. It is part of a series of text based scores inspired by traditional Scottish music and systems for playing.

The piece was workshopped and recorded by the RCM New Ensemble on the 9th of October 2024.

A recording can be found here.

For Piano Trio and Mezzo-Soprano (April 2024)

Duration - 9'

Setting the text ‘Uan Beag’ (Little Lamb) by Eve Findlay, ‘Caite bheil thu?’ (Where are you?) is a work for piano trio and soprano. The text follows a woman who has lost her child during the highland clearances of the 19th century. The work is part of an ongoing exploration of the Gàidhlig language, history, and the traditional music of Scotland. Much of the melodic material is heavily inspired by Gàidhlig lullabies and coronachs. 

Premiered by Annie NicDhòmhnaill and the Azure Trio (Thomas Luke, Maya de Souza and Catherine Cotter) and conducted by Patricia Gomez on the 31st of May 2024 at St Mary Abbots Church.  A recording can be found here.

For the New Ensemble (November 2023 - April 2024)

Duration - 12'

For Violin, Viola and Cello

Written for the New Ensemble, ‘The Cave of Time’ is inspired by ‘Choose your own adventure’ novels. All three movements are based on the concept of player choice and the resulting sound is generated from the path they choose along each map (score), primarily in terms of pitch in the first movement, then imagery and style, and finally both. The visual layout of the score was created with the understanding that most players will be playing at sight, as such, clarity and instant recognition were of the upmost importance. 

Movements were individually workshopped over the course of the year by the New Ensemble. The final recording was performed by Jordan Brooks, Katharine Wing and Alex Boyd-Bench on the 22nd of May 2024, which can be found here.  

For Flute Quartet (May 2023)

Duration - 5'15"

Written for the flute quartet W150 (Sam Frith, Brioni Crowe, Enya Bowe and Marley Dyer), 'Something else' was an initial foray into using a row and motivic cells made from that row, as well as more minimalist techniques in its second section.

The work was recorded by W150 on the 18th of May 2023 at the Royal College of Music, which can be found here.

For the New Ensemble (November 2022)

Duration - 13'15"+

For Oboe, Clarinet in Bb, Bassoon, Horn in F, Viola and Cello

Written for the New Ensemble, Misinterpretations looks at how a player reacts to various visual stimuli, and how those reactions differ between players. At any point, two of the players are 'soloists', interpreting visual stimuli given in the score, supported by a bed of sound created by the other players.

Whilst no recording exists please feel free to email for access to the score.