There’s a lot of tension and ambiguity in my music. It’s a generalisation I ought not to make, but I sometimes feel I’m walking a tightrope between old, ‘expressive’ music and new ‘soundscapes.’ I want to innovate and not to be comfortable in the past. I believe our lives are too complicated now for that. At the same time, I still want my music to be expressive and personal.
Composition is comforting and cathartic for me. It’s a way of bringing relief to tensions and frustrations that I can’t express in reality.
I’ve completed my study at the Royal College of Music, London, with Haris Kittos.
feet on this frozen earth
flute, bass clarinet in B♭, harp, celeste, violin, double bass
A chamber composition that loosely incorporates fragments of ‘In the bleak midwinter.’ The title suggests moving forwards through a harsh, hostile, sometimes violent winter.
in silent dreams
baroque flute, chamber organ, live electronics
a work about self-expression and communication, and what happens when expression doesn't make it out of the self. Gestures stutter, remaining hidden and inexpressible even as they are being expressed in sound. In a sense, this work is about “silenced dreams.” The connection to sounds of the everyday world has been twisted and broken, so inner sounds, shapes and impulses come to life.