Welcome to the new version of this website, launched in July 2017 and designed by Dan Goren. I hope you find everything you’re looking for, and do please get in touch if you want to know more.
I am currently working on a new work for the Ebonit Saxophone Quartet, to be premiered in the Cosmo Rodewald Concert Hall, University of Manchester on 16th November 2017, as part of the New Music North West Festival.
I am delighted to be performing the world premiere of my new piano piece, Kinderszenen on 8th August 2017 in l’Eglise Saint-Pierre-ès-Liens at Cissé, in the Poitou region of France. This performance forms part of the Concerts en nos Villages series, which runs alongside the ARAM-Poitou Summer Academy in late July / early August. I will also be performing works by Schubert, Beethoven, Fauré, George Crumb and Morton Feldman during this concert series.
I will also very happy to be teaching on the Composition Masterclass alongside Peter Swinnen from 5th-12th August at ARAM-Poitou.
John Turner and myself have recently made a new recording of Kokopelli (for recorder and prepared piano). This will be included on a reissue of ‘John and Peter’s Whistling Book’, which will be available through Divine Art / Métier. Watch this space!
Misplaced Time Refound was shortlisted for a BASCA British Composers Award (Solo/Duo category) in 2016. You can hear Gavin Osborn’s performance of it (Cosmo Rodewald Concert Hall, Manchester, 25 February 2016) here.
I had the great privilege of performing Fauré’s Piano Quintet no. 2 with the Quatuor Danel in the Cosmo Rodewald Concert Hall, Manchester on 25 November 2016. What an experience: Fauré is an absolute magician when it comes to harmony and texture.
I am grateful to the pianist Clare Hammond for her exquisitely sensitive performances of Five Preludes in St Briavels church, Gloucestershire on 19th February 2017, and in Dorstone House, Hay-on-Wye (part of the Hay-on-Wye Festival) on 24th July 2016.
I am writing a new string quartet for the Quatuor Danel inspired by Iceland’s incredible geology (which is hyperactive compared to most other places on earth). Can geological processes, such as eruption and effusion of lava, buckling and cracking of rock, erosion by wind, water and ice be represented by music? Can music evoke Iceland’s unique relationship between heat and cold, and the otherworldly atmosphere of its landscape? That is what I am trying to work out at the moment.
From 13-19 July 2016 I visited Iceland, a place I have always been fascinated by, and I walked the Laugavegur trail from Landmannalaugar to Thórsmörk, including the ascent to Fimmvörduháls, beneath the Eyjafjallajökull volcano (infamous for bringing European air travel to a halt in 2010).