2021

Fundamentals of the New Normal
Double bass and video
15 minutes
Composed for James Banner.

 

Unwept Tears
A radiophonic work with narration.
Accordion, oud, udu, sampled voices.
5 minutes.

 

Improvised Bodies
With Lin Li
A remote-collaboration in sound and image
15 minutes
Premiered at the Royal Musical Association Music and/as Process Conference 25-26 June 2021

 

2020

Listening to a Boat of Memories
Interactive installation, sound tracks.
15-20 minutes depending on audience.
First iteration: Royal Northern College of Music, Manchester, 4 March 2020

Teatime! (Did you think I was here to make the tea?)
Piano, saxophone, sampled kitchen equipment
5’54 minutes
Teatime! was part of the programme of MicroActs 8 on Thursday 24 June 2021 at Hotel Elephant, London, and has since been screened at Darkroom Festival (London), Make Art Not Fear (Porto) and will be shown at the World Cinema Carnaval 2022.

 

 

 

 

 

 

 


Be water, be light

A radiophonic work.
Piano, oud, soprano saxophone, singing bowl, sound track
6’30 minutes


The whale that danced despite everything
Double bass and piano
8 minutes

2019

He tells her
Setting a poem by Wendy Cope.
Voice, oud and marimba
4 minutes.
Premiere: Royal Northern College of Music, Manchester, 4 March 2020
Phoebe Rayner, Rachel Beckles Willson, Tom Hall.

Song for another world
Original text.
Voice, String Quartet and oud
12 minutes.
Premiere: Royal Northern College of Music, Manchester, 4 March 2020
Victoria Armillotta, Blair Taylor, James Young, Christopher Newton and Jakub Zalewski; Rachel Beckles Willson

2015-2016

Sing no Sad Songs for Me
Setting poems by Christina Rossetti
A song cycle for voice, oud, bowed tanbur, Indian tabla and double bass.
35-40 minutes.
Premiere: St Ethlburga’s Centre, London, June 30 2018.
Documentary film:

1. A Pause of Thought
2. Sing no Sad Songs
3. Fata Morgana
4. Waiting for Mother
5. Yet a While
6. Echo
7. A Pause
8. Smile and Forget

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Works composed 2011-2013 are creative studies in Ottoman genre and modality.
The Ottoman genre ‘Semai’, follows a particular usul (metre) in 10/8, which is divided 3-2-2-3 for all sections except the penultimate, which is typically in 6/4, 6/8 or 3/4.
The modes are strictly codified in terms of pitch and development.
‘Saz’ means ‘instrument’, and they can be played in any combination or by a soloist, provided the instrumentalist can articulate the microtones.

2011

Acemasiran Saz Semai
Any instrumental combination
3 minutes.

Guldeste Saz Semai
Any instrumental combination
4 minutes.

2012

Acem Kurdi Saz Semai
Any instrumental combination
4 minutes.

2013

Mahur Saz Semai
Any instrumental combination
4.5 minutes.

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