Vitiation (2019)

for classical guitar and electronics

Recording performed by Alex Hart

Vitiation is an interogation of the means of communication between a score and performer. The score consists of three pixelated fragments of notation and the performers role is to try and decifer them. Their attempts are recorded, played back and distorted through the electronics creating a gradually developing hetrophonic texture.

Download score and pure data patch.

Requeim (2017)

for three sopranos, piano and electronics

Original Text: Anna Akhmatova

Translation: Judith Hemschemeyer

Akhmatova’s Requiem is an elegy written over three decades depicting the terror of the Stalinist regime.  The poems in this cycle reflect the horrors Akhmatova personally experienced and those experienced by the people around her.

In this setting of the text, the words are placed at the forefront. Akhmatova wanted people to learn of the horrors of this regime and it felt wrong for me to potentially obfuscate the meaning of this important cycle through song. Instead, the majority of the text presented here is clearly spoken. The singers and the piano work together to create textures that underpin the words. This musical material is derived from the melodic line of the spoken text as well as the rhythms produced by it. The sounds sung by the singers are taken from the vocables that make up individual words. Rather than being a text set to music, I have treated this as music set to text.

Please note, score is handwritten and contains no performance instructions. If you are interested in performing this, please contact me and I will produce a better version of this score for you.

Download score and pure data patch.

Schutzwall (2017)

chamber opera for two sopranos and live electronics

Performance by Mimi Doulton and Ella Taylor

Berlin, 1961. The newly erected Berlin Wall has fractured the city. Put up overnight without warning, residents awoke to find themselves divided from their families, friends and livelihoods. In the following years thousands of refugees would attempt to escape over the wall into West Berlin. Set one month after the wall’s construction, Schutzwall tells the story of two sisters who meet either side to wait for nightfall and their chance to be reunited.

“An impressive and confident piece which showed a strong control of the medium” – Planet Hugill

Download score and pure data patch.

West Pier (2016)

for bass guitar and live electronics

Opened in 1866, closed in 1975 and damaged beyond repair by fire in 2003, the carcass of Brighton’s West Pier is arguably its most iconic landmark. The skeletal remains have be left to disappear, as the structure breaks down and is gradually reclaimed by the sea.

Download score and pure data patch here.

Matryoshka (2015)

for piano and live electronics

Recording performed by the Edison Ensemble

Inspired by the discussion in Simon Emmerson’s article ‘Losing Touch?’ Matryoshka aims to blur the boundaries of causality for the listener. Rather than the electronics functioning on their own they instead function as an extension of the piano, both consisting of and triggered by elements of the piano performance. Rather than being a piece for prepared piano and electronics, the work could be considered as being simply for prepared piano, with the electronics functioning as part of the preparation.

Download score and pure data patch here (coming soon).