Large Ensemble
Symphonies, Concerti, Wind or Brass Ensemble, &c.
Symphony No. 1
Instrumentation: Piccolo (1), Flute (2), Oboe (1), Oboe+Cor Anglais (1), Clarinet in B-flat (2), Bass Clarinet (1), Bassoon (1), Bassoon+Contrabasson (1); Trumpet in B-flat (2), Horn (4), Tenor Trombone (2), Bass Trombone (1), Tuba (1); Timpani; Violin (2), Viola (1), Violoncello (1), Double Bass (1), enough to divide part into: abc+abc+ab+ab+ab
56’
In four movements, this symphony was composed from 2022-2024.
The second movement is the only movement that is subtitled (as Heubad), and it is for divided strings.
The first movement is inspired by a number of things, with the central climax meant to represent the motion of the Zweihänder.
The third movement is a scherzo, and the final movement provides closure on some of the thematic motions throughout.
Sinfonietta No. 1
Instrumentation: Piccolo (1), Flute (2), Oboe (2), Clarinet in B-flat (3), Bass Clarinet (1), Bassoon (2); Alto Saxophone (2), Tenor Saxophone (1), Baritone Saxophone (1), alt. bass clarinet quartet; Trumpet in B-flat (3), Horn (4), Tenor Trombone (2), Bass Trombone (1), Tuba (1); Timpani, Percussion (3), detailed within score
21’
This piece, composed for concert band, has three movements. Its main inspiration is "Nocturne" by poet Eino Leino. It is subtitled Ruisrääkkä (a type of rye-bird in Finland).
The music tells the story of the poem using words from it, with rhythms that reflect the poem's lines. Each word has a specific rhythm based on the cuneiform script of the Akkadian-Sumerian language. The shape of each cuneiform sign is preserved while the rhythm is based on its proportions, leaving the pitch flexible.
Throughout the piece, there are bird-like sounds and echoes of the corn crake's call mentioned in Leino's poem. The bass drum plays an important role, representing the Sámi tradition of joik.
Madonna of the Lilies
Instrumentation: Piccolo (1), Flute (2), Oboe (1), Clarinet in B-flat (3), Bass Clarinet (1), Bassoon (1); Alto Saxophone (2), Tenor Saxophone (1), Baritone Saxophone (1); Tenor Horn (2), Baritone Horn (2); Trumpet in B-flat (4), Horn (3), Tenor Trombone (3), Tuba (1); Timpani, Percussion (2), detailed within score
8’ 30’’
Awarded first place in the International category of the Warsaw Wind Ensemble Composition Contest 2020, my “Madonna of the Lilies” is based on a painting by Czech painter Alphonse Mucha. It is composed of two dances: a dumka and a furiant.
This performance was held on December 5, 2021 at the Ursynów Cultural Center Alternatywy. The organization was the Concert Orchestra of the Representative Artistic Ensemble of the Polish Armed Forces, and it was conducted by Michelle Rakers, who is one winner of the Warsaw Wind Ensemble Conducting Competition 2021.
Harvest Festival
Instrumentation: Flute (1), Flute+Piccolo (1), Oboe (2), Clarinet in B-flat (1), Clarinet in B-flat+Bass Clarinet (1), Bassoon (2); Trumpet in B-flat (2), Horn (4), Tenor Trombone (1), Tenor Trombone+Bass Trombone (1), Tuba (1); Timpani, Percussion (2), Harp (1); Violin (2), Viola (1), Violoncello (1), Double Bass (1), string orchestra such as 10-10-8-10-6
16’
Working on several different levels, this work in essence is a saga of a life, from birth until death. It was composed in coordination with the Runic calendar (which is Metonic, as in a type of calendar accordant, approximately, to the relationship of the moon and the sun in a roughly 19 year-long cycle, despite its negligence of several, relevant factors). Additionally, it makes reference to dozens of Slavic, Germanic, and Norse deities, legends, and methodologies.
Featured within is a depiction of the birth of mankind, a fugue of Perun's Battle of Thunder, Odin's hanging on Yggdrasil, and progression of the moon cycle. It also uses the "Hejnał mariacki" as a binding melody to represent the will of humanity in face of the blinding power of the gods.
It was composed over multiple years and it includes numerous names, curses, and runes in order to construct a metaphorical narrative around the happenings of a person's life. In the end, only a compositional image of the earth witnesses the results. The work was the winner of a friendly intramural competition between composers at the RWCMD.
Premiered in St David's Hall on June 29, 2022 by the RWCMD Symphony Orchestra under conductor David Jones. Audio below:
Divertimento No. 1
Instrumentation: Flute (2), Oboe (2), Clarinet in B-flat (2), Bassoon (2); Trumpet in B-flat (2), Horn (2), Tenor Trombone (1), Tuba (1); Timpani, Percussion (1); Violin (2), Viola (1), Violoncello (1), Double Bass (1), string orchestra
11’
In three movements, this work is based on a trio for two flutes and harp that was commissioned by the Junior Conservatoire of the Royal Welsh College of Music and Drama.
The original inspiration of the composition was on three paintings by the contemporary British painter, Shaun Hughes. In addition to this, each of the pieces is a tradition type of dance or poem, with the final movement being based on the virelai Polorum Regina ("Queen of the Poles") from the Llibre Vermell de Montserrat (“Red Book of Montserrat”) of Catalonia.
SCORE https://www.universaledition.com/en/Works/Divertimento/P0205391
Solo
Piano, Organ, Flute, Percussion, &c.
Piano Sonata No. 1
Instrumentation: Piano (1)
28’
Composed for solo piano, this composition is intended as a celebration of Azerbaijani culture by incorporating elements of traditional dance forms throughout the work.
I M P R O V I S A T I O N
The first movement is composed in the style of the Turkic ashik, a poet-musician similar to a bard. The movement is in an arch sonata-allegro form with aspects of sonata-rondo form. The first movement serves as the exposition for the overall sonata form of all the movements. Within the movement, each section can be divided into subsections, with "Theme A" in binary form and "Theme B" in ternary structure. These elements are further developed in subsequent movements.
FORM:
Section 1 (Subsection: AABB)
Section 2 (Subsection: CDC)
Section 3 (Subsection: E)
Section 4 (Subsection: D/B)
Section 5 (Subsection: A)
B A L L A D
The second movement is a mournful piece similar to those in ashik traditions. Theme B is explored here, and the structure resembles a global ballad with sections in three parts. Patterns using two, three, and five notes are common, and the music has a sad tone.
FORM:
Section 6 (Subsection: CD)
Section 7 (Subsection: F,D/B,F)
Section 8 (Subsection: C/E)
Section 9 (Subsection: C)
S C H E R Z O & R O N D O
The third and fourth movements are both short and they are conjoined, though they are conceptually distinct in their respective forms. Both, however, serve to develop Theme A, with the third movement developing subsection I and the fourth movement working subsection II of the first movement.
First, a continuous scherzo with a rough binary structure. Next, a dance representing the movements of a gazelle, structured as an eight-part rondo.
FORM:
Section 10 (Subsection: A)
Section 11 (Subsection: D)
Section 12 (Subsection: A/D)
+
Section 13 (Subsection: B)
Section 14 (Subsection: A)
Section 15 (Subsection: B)
Section 16 (Subsection: A)
Section 17 (Subsection: B)
Section 18 (Subsection: F/E)
Section 19 (Subsection: B)
Section 20 (Subsection: F)
T O C C A T A
The final movement is a poem as opposed to a dance that is an ode to fire, with the final motion being an illustration of the creation of fire. It can be viewed as a toccata with a form the emulates that of the first movement (a symmetrical arch form of ABCBA), but with the final two sections being inversed in order (ABCAB), thus removing its symmetry. On the global level, this movement is the recapitulation.
FORM:
Section 21 (Subsection: ADAA)
Section 22 (Subsection: E, A/D, B/D)
Section 23 (Subsection: A)
Section 24 (Subsection: F)
Section 25 (Subsection: A)
Piano Sonata No. 2
Instrumentation: Piano (1)
14’
This piano sonata has one movement and includes sections titled City, In the Park, Balalaika Song, and Mermaid. It is inspired by various cities the composer has visited or lived in, such as Cardiff, Prague, Buffalo, and New York City. It also reflects the creation story of the balalaika, a favorite instrument of the composer.
SCORE https://www.universaledition.com/en/Works/Piano-Sonata-No.-2/P0205400
Piano Sonata No. 3
Instrumentation: Piano (1)
10’
A sonata in one movement inspired by Azerbaijani music.
Piano Suite No. 1
Instrumentation: Piano (1)
17’ 30’’
This piece consists of seven movements inspired by Italian culture. It was completely rewritten in April 2023, although it originated in 2019, when it was created alongside Paul Klee's paintings.
The first movement, Giga, has fast motions and arpeggios to mimic the ancient dance.
The second movement is a serene serenade, reflecting the calm of night.
The Saltarello follows, showcasing lively interpretations of jumping, typical of its dance style.
The fourth movement, Zampogna, evokes the sound of Italian bagpipes, with distinct voices representing the instrument's drones. Originally intended as a siciliana, it was adjusted for rhythm.
The fifth movement is lively, originally called Toccata, now reimagined as Caccia, symbolizing a chase for tranquility through motion.
The sixth, Vespro, remains gentle and represents a calm nocturne, controlled in form.
The final movement, Romanza, is the most tender, added later as a reflective piece, initially a separate work known as “Pastel.”
Piano Suite No. 2
Instrumentation: Piano (1)
12’
This suite has four movements. It was first written in 2020 and largely revised in July 2023. It is dedicated to Poland.
The first movement honors Tadeusz Pankiewicz's story during World War II, which resonated with the composer during a visit to Kraków.
The second movement pays tribute to František Kupka's painting “The Form of Vermilion,” a favorite of the composer.
The third movement is the longest and features a trance-like pattern, resembling a walk through the woods.
The final movement is a brief toccata characterized by continuous motion. It was originally composed from May 26 to 29, 2020, and rewritten from July 1 to 3, 2023.
Piano Suite No. 3
Instrumentation: Piano (1)
11’
A suite for piano in four movements inspired by Belgium.
Piano Suite No. 4
Instrumentation: Piano (1)
18’ 30’’
A piano suite based on my time living in Wales, Worcestershire, and Cornwall.
Dedicated to Stef Conner.
Piano Suite No. 5
Instrumentation: Piano (1)
15’
This piano suite has three parts and is inspired by the world-tree from Norse mythology (Maailmanpuu in Finnish). Each section reflects early winter: the first frost, the warmth of a new fire, and the cold wind among the spruce trees, showing nature's connections.
It was nominated for the Red Jasper Award in 2022.
Piano Suite No. 6
Instrumentation: Piano (1)
43’
A set of fifteen works for piano that were originally improvised in 2018. Each was then dedicated to various Czech historical figures, as well as some personal acquaintances. This also exists as a slightly modified version for harpsichord (Harpsichord Suite No. 1).
The whole set is dedicated to Zuzana Wienerová.
Organ Sonata No. 1
Instrumentation: Organ (1), ideally three manuals
23’ 30’’
A three-movement sonata for organ. Work began with the third movement, and the second movement is inspired by a Norse runestone, Eggjagaldr.
Xanadu
Instrumentation: Violoncello (1)
6’
This piece for solo cello is inspired by Samuel Taylor Coleridge's work, 'Kubla Khan: or a Vision of a Dream.'
Fantasia
Instrumentation: Clarinet in B-flat (1)
5’
A short work for solo clarinet (B-flat).
Moonflower
Instrumentation: Vibraphone (1)
3’ 30’’
This piece was originally for three percussionists but is now arranged for solo vibraphone. It is a brief night piece inspired by the moonflower, a flower that only blooms at night and is quite rare.
Yötön Yö
Instrumentation: Violin (1), with speaking part
~14’
For violin/speaker, this rhapsody was composed on three poems by V. Koivioni (with translation from Finnish to English by David Hackston). The theme of the poems is on Midsummer Night in Finland and the nightless night (yötön yö) therein.
This is digital mock-up, and does not include speaking part with the poetry.
Chamber
Duets, Trios, Quartets, Quintets, &c.
Violin Sonata No. 1
Instrumentation: Violin (1), Piano (1)
15’
On different shades of the Finnish "ruska," or color-changing of the leaves.
Awen
Instrumentation: Soprano saxophone (1), Piano (1)
5’ 30’’
Based on the Welsh embodiment of poetic inspiration - awen - this piece is for soprano saxophone and piano, and it is in three clear sections. The first is a gentle introduction that meanders between flowing lines and pointed stops. The music enters a slow, vacuous world in the second section, and the piece concludes with a jovial dance.
Performing on the soprano saxophone is my friend Kathy Clarke, and her instructor at the Royal Welsh College of Music and Drama.
Epitaph
Instrumentation: Flute (2), Harp (1)
3’ 30’’
Composed for the Junior Conservatoire (at the Royal Welsh College of Music and Drama), this work is based on the Seikilos epitaph: a stele containing the oldest complete musical composition.
The piece begins with the image of gently rocking waves. The pace quickens, and the two flutes pass gull calls between each other before the first flute introduces the main theme of the Seikilos tablet. Briefly, an image of the sea returns before the hypnotic central section begins. The polymetrical lines blur the sense of time in the music, as if looking ahead whilst remembering the past. The work concludes with one final sighing gesture by the sea.
Sonatina
Instrumentation: Clarinet in A (1), Piano (1)
11’
Originally a set of songs for alto and piano written over two days, this now stands as a sonatina for clarinet (in A) and piano in five movements. It is subtitled Greenstone.
Duet No. 1
Instrumentation: Flute (1), Piano (1)
5’
A short duet for flute and piano based on sketches from juvenilia.
Englyn
Instrumentation: Flute (1), Piano (1)
3’ 30’’
Composed for the Junior Conservatoire at the Royal Welsh College of Music and Drama, this work is written in a way that emulates the Welsh traditional poetic form, the 'englyn penfyr'.
The structure of the music—including the elements of rhyme, repetition, and proportionality/duration—corresponds directly to the poetic form. Also accounted for is the concept of cynghanedd (“harmony”), which defines the location and repetition of consonants, rhyme, and stress.
There are three lines, with the first having ten syllables, the second having six; and the third having seven. The first two lines use 'cynghanedd groes' (where consonants, which equal rhythmic and spatial figurations in the music, are repeated in a certain order); the last line uses 'cynghanedd sain' (an even more complex form that also includes internal rhyme within the line).
Pearl
Instrumentation: Flute (2), Harp (1)
5’
Composed for the Junior Conservatoire at the Royal Welsh College of Music and Drama, this work stood originally as a work for SATB and piano. The piece was completely rewritten, and it is loosely inspired by the fourteenth-century poem "Pearl," about a father mourning the loss of his daughter.
Trio, “Golden Hour”
Instrumentation: Flute (2), Harp (1)
10’
Composed for the Junior Conservatoire at the RWCMD, this set of three pieces was inspired by the work of contemporary painter Shaun Hughes, as well as folk music. It was the first of three trios written for the Junior Conservatoire.
Légende
Instrumentation: Guitar (1), Harp (1), Piano (1)
13’ 30’’
In five brief movements, the inspiration of this set is from medieval Occitan literature. The organization of the movements depicts a "legend," or some sort of story which one recounts to another, beginning in the morning and ending in the evening. There is one guitar part, but this should be at least doubled for a performance, for the sake of balance.
A L B A
Similar to an aubade – a morning love poem – the alba serves as an introduction to the legend, and it depicts a sunrise amongst lovers.
R E V E R D I E
From the haze of the first poem, this movement projects a sense of dance, life, and energy. The reverdie, traditionally, is a poem that celebrates the arrival of spring.
K Y R I E L L E
The most pensive and introverted, the kyrielle is a solemn reflection of the self; here, represented by the harp. The piece concludes with a quotation of the “kyrie.”
E S T A M P I E
A fiery dance, this poem counteracts the serious nature of the previous movement with intense momentum. The troubadour estampie ends swiftly and with a scent of wit.
S E R E N A T A
Utilizing all the previous thematic material, the serenata (or serenade) completes the course of the “day” in the legend. It is particularly similar to the aubade as both poems have traditionally functioned in the same way, only at different times of the day. As such, the serenata can be compared to the back-binding of a book closing shut.
Piano Trio No. 1
Instrumentation: Viola (1), Violoncello (1), Piano (1)
10’
Subtitled “Conference of the Birds,” this work was crafted using a variety of personal methodologies. In addition, the work drew initial inspiration from the composition Kor ərəbin mahnısı (“Song of the Blind Arab”), by Azerbaijani composer Fikret Amirov from the musical setting of the play Sheikh Sanan, while at the same time incorporating its melody. The subtitle of my work is in reference to the Sufistic text Conference of the Birds, itself the basis of the play Sheikh Sanan, which is also utilized. Moreover, the music is reminiscent of the traditional sonata form, with diametric A and E-flat as harmonic zones of import.
The music is a combination of two of my compositional methods: my Eddaic mode, which translates both the names of the birds mentioned in the Conference of the Birds & the names of Sanan and Khumar (the main lovers of Sheikh Sanan) into pitch, harmonic, and rhythmic information; and, my Akkadian mode, which uses 88 rhythmic figurations formed through my ornithological analysis of Sumero-Akkadian cuneiform and its syllabary. This is dependent on the phonemic information of, here, the “birds.”
Over time—just as in the text Conference of the Birds—certain “birds” (i.e., their themes) fade from the music, until only the worthy remain to form the mythical “simurgh.”
There are four sections to this work. First comes Yer (“Earth”). It is dronelike in the style of muğam, and it evokes improvisatory, loamy textures—harmony is firm like stone.
In Boşluk (“Void”), Amirov’s melody begins to crystalize (around fig. 5), and a number of birds are introduced musically—in general, this section has a mournful tint. Lyricism and fluidity are valued here.
Kənar (“Edge”) returns to the stability of the opening muğam-style, as it opens with a piano solo. Warm and cold extremes duel for control of the narrative, and the Sanan and Khumar Theme forms at fig. 14.
Symbolic of both the lovers Sanan and Khumar, and of the unity gifted by the simurgh, Əbədi (“Eternal”) concludes the work. Only those birds mentioned in the text—as well as the lovers—are cited here, and the harmonic struggles between the A—E-flat tritone is resolved.
The final image is that of the simurgh, which shines in a fiery heat whilst also drawing inspiration from the “Song of the Blind Arab.”
Performed at the Bruno Walter Auditorium, Lincoln Center in New York City at the Gala Concert of the National Music & Global Culture Society. The concert was a celebration of the Azerbaijani composer Fikret Amirov, and Piano Trio No. 1 placed second in the composition competition featured therein.
String Quartet No. 1
Instrumentation: Violin (2), Viola (1), Violoncello (1)
17’
Composed in three movements (with the final two being conjoined), this work for string quartet is my first in the genre. The work is predominantly fiery and intense, much like storm-filled midsummer during which it was composed.
Cassation, “Canalside Dances”
Instrumentation: Guitar (4)
13’
Four dances/poems based on my hometown, commissioned by my friend Conn Sullivan. They are based loosely on Italian Renaissance poetic/dance forms, and they each are accompanied with a poem. These works are also known as “Canalside Dances.”
C O R R E N T E
"Corrente" is a flowing, contrapuntal dance that follows the winding path as if walking alone a canal.
P A V A N A
"Pavana" is a steady, regal dance that is contrasted with a graceful counterpart, continuing with the flowing theme.
V I L L A N E L L A
"Villanella" is a dreamy depiction of the countryside in a glassy introspective tone. The piece ends with a humble, provincial display from the first guitar.
P I V A
"Piva" is the most energetic of the set, and is rife with both fiery clusters of chords carried throughout the lines and longer, flowing melodies, all over a constant ground-bass.
Flower Suite
Instrumentation: Flute (5)
13’
Commissioned by the Junior Conservatoire of the Royal Welsh College of Music and Drama in Cardiff, Wales, this suite is a set of four dances for flute quintet. In addition to being inspired primarily by late-Renaissance dance forms, each work is a portrait of a flower. The work was used by both the younger students and the older students of the conservatoire/college for teaching purposes under the direction of Joanne Abson.
L I L A C M A D R I G A L (00:05)
While not technical a dance form, this piece is based on my favorite flower – the lilac. Alternating between chordal blocks and sparsely polyphonic passages, this madrigal is a faithful portrait of the lilac in color and in fragrance. It ends with a gesture of grace.
F O X G L O V E T O U R D I O N (05:03)
Marked “cardial” – in reference to both the vivacious energy of the music and to the flower’s utility in heart medication – this dance is in fiery contrast its predecessor. Splotched throughout are fragmentary fughettas and spritely counterpoint. The piece concludes with a final recitation of the opening theme in the first flute.
M A R I G O L D C A R O L (07:08)
A tender depiction of the marigold in its garden. In accordance with the traditional use of the carol as a round-dance, the lines of this dance pass between the quintet in a circular manner. The crux of this movement is a duet between the first and fifth flute, leading to the combination of both the duple and triple time themes.
T U L I P P A S S E P I E D (11:01)
The most energetic of the set, this finale is for the tulip – bright and rife with color. The music playfully wanders from the opening theme – one that is somewhat confused in its time signature – to a confident countertheme. The piece ends with these themes married in joyous content.
Chevrefoil, “Honeysuckle”
Instrumentation: Trumpet in B-flat (2), Tenor Trombone (1),
Horn (1), Tuba (1)
3’ 30’’
Meaning “honeysuckle,” this piece is loosely based on the eponymous lai by the medieval poet Marie de France. The title is in reference to the honeysuckle as a symbol of love that runs throughout her writing of the story Tristan and Iseult.
Therein, the honeysuckle is intertwined with the hazel to such a point that, if ever they were to be separated, the both of them would perish. This is emblematic of the love between Tristan and Iseult and their unwillingness to leave each other’s side.
Performed by the Emerald Brass of the Royal Welsh College of Music and Drama
Concerto Grosso
Instrumentation: Violin solo (1); Violin (2), Viola (1), Violoncello (1), Double Bass (1), string orchestra or doubled/tripled; Harpsichord (1)
11’ 30’’
In four movement, this work is inspired by sketches from my Piano Suite No. 6. It includes a continuo part, comprised minimally of a harpsichord, in addition to an obbligato solo violin part, and ostensibly stands as a concerto grosso.
Viola Concertino No. 1
Instrumentation: Viola solo (1); Violin (2), Viola (1), Violoncello (1),
Double Bass (1), string orchestra or solo
12’
Originally composed on three poems by Georgian-era English poet and soldier William Kerr, this work is a three-part concertino for viola solo and string quintet (or string ensemble). It was originally sketched as a set of art songs for tenor and piano.
Throughout, the music is inspired by the folk music that was contemporaneous to the time of Kerr (the early Twentieth century in the UK).
I. Nocturne, on "The Trees at Night"
II. Eclogue, on "The Apple Tree"
III. Coronach, on "In Memoriam D. O. M."
Novel No. 1, “American”
Instrumentation: Violin (2), Viola (1), Violoncello (1), Double Bass (1), string orchestra
9’ 30’’
Composed using several previous versions—including one for theremin—this work for string orchestra was composed for the celebration of Juneteenth.
Vocal
Art songs, Cantatas, &c.
Ink
Instrumentation: SATB choir, Piano (1)
4’ 15’’
Also available for TTBB and piano, this work was written in memory of Czech artist and Holocaust victim, Bedřich Fritta. I learned about this artist when I visited Terezín whilst living in the Czech Republic.
The music originated from my Piano Suite No. 6, and the lyrics of this work are in the style of a found poem (as assembled by myself). The source is on a biographical summary of Fritta’s life.
Due to this being a simple mock-up, the lyrics themselves are not able to be included in the recording. The lyrics are:
“Wash—
on the second transport
the ghetto artists
ordered to paint
propaganda
clandestine horrors.
Discovered, was their son:
incarcerated and deported.
Wash together, buried in
ink.”
Halub
Instrumentation: SSAA choir, Piano (1)
4’
A short work using a found poem of mine derived from the Mesopotamian "Enlil and Ninlil: The Marriage of Sud."
The music is derived from my Piano Suite No. 6, and the work ends with a wedding chorus.
Due to this being a simple mock-up, the lyrics themselves are not able to be included in the recording. The lyrics are:
“Inform your Lord,
animals came running
freely in the desert
Wild oxen, tigers,
goats and kids ramping,
fighting
White honey and large pomegranates;
date plucking in the winter
a faraway land of topaz and gold.”