Thread Through Porous Ears
2018 Sydney Symphony Orchestral Fellows
Orchestrations of hydroacoustic phenomena;
sharks listening with their bodies.
Previewed 28/08/2018 by Sydney Chamber Opera
A chamber opera framing Seamus Heaney's early pastoral writings in a Margaret Atwood short story of the same name. Transmutations of the expression of vocality unfold in an uncanny soundworld, the howling wilderness.
two players on piano
3 Breath Studies for Solo Trumpet
co-composed with Alexandria Smith
Developed in July 2018 at the Darmstadt
New Music Festival
wind quintet & electronics
Laceration II is part of an ongoing series of works preoccupied with
the dissolution of intuitive structure. Tension between acoustic and
digital output is mediated by the performance of semi-improvised
alto flute & electronics
Laceration I: Lung & Bone
The ensemble speaks most clearly on the verge of its undoing.
I c rry h th f e ng of ny. d ’t k d st y d be f lt rec n ntly.
I th nk ’m t in e i my e .
“ f h b ke up e’d e q catch” m m s
po nt o me, t h t t fe l ha
I’ I I Im w im, e e ee
o t a k of sil y cy y y yyss s s s s s I lik .
s ile, h nds.
I I I I I I I think tha that
ort of t ns ”
“I h re esp r y n lss s s sss ss I w."
ey s sss s re th in cerr s t t t hin s I no .
I I I I th m t a p hps
h rt r t ow n I h ed pr d t ’t.
he re c o t t I h d r t t tt t
t uth impo a t th gs
I ov th shp yr h nd ss s ssss h wa thw y your voice ctch ss tsel fa d
gnrl dsco rt y u emb s well I ca ’t think f n sy y t ytss but I did d
I ’s e nd I I II so wrot is p e e en oy tt t is f y u”
I I hi I t at at p rh ssss
I th nk ’ t I y d.
trumpet, piano & percussion
Trumpet: Sam Thompson
Piano: Darci Gayford
Percussion: Nancy Zheng
Expressions of the character of a music box, long abandoned,
singing madness and unhinging the sound of itself
as its voice strays increasingly further
from the confines of intention.
It is a strange and unnerving process, re-articulating
the impeded lunacy of half-spoken murmurs
in a failing inanimate.
Conducted by John Keene
One is physically awake and aware of their palpable surroundings, however
the mind has yet to dissociate from sleep, keeping one paralysed and projecting metaphysical dreamscapes into a tangible world.
In inhabiting transition, confronting the volatile and the uncomfortable,
one occupies a state between states.
winds, percussion & film
Celtic flute (D): Andrew Collins
Clarinet: Claudia Jelic
Percussion 1: Niki Johnson
Percussion 2: Josephine Macken
A memory reconstructed is a contortion of itself.
This work is a visual and sonic meditation on the malleability of memory and consequent unattainability of agency over one’s
perceptions of the past.
Fanfare for Counterspectacles
Workshopped & recorded 18/05/16
SCM Wind Symphony
Conducted by John Lynch
A fanfare primarily concerned with the construction and dispersion of textures that shape the colour of the ensemble and inform the trajectory of harmonic expansion within the work.
song cycle for tenor & ensemble
Tenor: Gabriel DeBurgh
Harp: Jo Baée
Piano: Sutthi Suton
Cello: James Morley
Double bass: Will Hansen
Electronics: Josephine Macken
This song cycle is a study of the Psalms in 7 genres, according to Longman’s analyses.
The title translates to ‘New Song’, an allusion to Psalm 96, which constitutes a divine endorsement of new music.
The macrostructure of the work is an abbreviated consideration
of David’s life.
Cloud Cantus is concerned with the macro and micro movements of cloud species within the Earth's atmosphere. Samples recorded using contact microphones and pre-processed techniques are sculpted into sound masses imitative of these species.
The resultant skyscapes are dynamic and volatile in their acousmatic presentation, as the movements of these sound masses guide the trajectory of materials within the
SATB choir, piano & violin
"Once there were brook trout in the streams in the mountains. You could see them standing in the amber current where the white edges of their fins wimpled softly in the flow. They smelled of moss in your hand. Polished and muscular and torsional. On their backs were vermiculate patterns that were maps of the world in its becoming. Maps and mazes. Of a thing which could not be put back. Not be made right again. In the deep glens where they lived all things were older than man and they hummed of mystery."
—Cormac McCarthy, The Road
realisation of Cornelius Cardew's open work
Vocalists: Chris Bouhabib, Ender Carden, Solomon Frank, Justin Green,
Henry Hulme, Katrina Kovaks, Sandra Liu, Johannes MacDonald,
Claudia Mackay, Josephine Macken, Claudia Rapisarda, Jeremy Richmond,
Ella Seabrook, Hamish Spicer, Sarah Elise Thompson, Joshua Winestock and Yinnie Yip.
A realisation of Cardew’s ‘Treatise,’ comprising an ungainly bricolage of vocal samples collected in spontaneous collaboration with a number of composers, vocalists, instrumentalists and musicologists at the Sydney Conservatorium of Music. This project was organised by fellow composer Claudia Rapisarda and I in order to investigate the effects of visual stimuli in eliciting an intrinsic improvisational vocabulary. The result is as we intended; a celebration of both the universality of this musical language and the expressive idiosyncrasies of individual performers.
Flutes: Shaun Barlow, Henry Liang and Angus McPherson
Clarinets: Solomon Frank, Benjamin Samuels and Yinnie Yip
Fluttertalks is scored for open instrumentation. Through a structured improvisatory style, it explores the inherency of communication and mutual collaboration in the natural world.
For score inquiries, please contact me at