works
chamber
a dance with a jelly-fish (2022)
For mezzo soprano and cello. Duration: 2'
World Premiere by Halcyon in After Dark, Summerhill Church, September 2022.
Composed in conjunction with Halcyon's First Stones Vocal Writing Intensive Program.
Silver Shrike (2022)
For string quartet.
Duration: 6'30" (approx.)
This single movement work is an arrangement of the art song for soprano and piano from my song cycle Leaving the Nest (2021).
The Power of Stillness (2022)
For string quartet.
Duration: 7' (approx.)
The Power of Stillness was inspired by the music of Arvo Pärt, particularly his use of the tinntinnabuli method seen in works such as Für Alina (For Alina) and Fratres (Brothers).
In The Power of Stillness, I wanted to express a deep sense of radical acceptance in the face of emotional pain. I explored elements of the tinntinnabuli method to establish the foundation of the work, a recurring theme that grows into different emotional states of being.
Regermination: Songs of Solace and Renewal in the Australian Landscape (2021)
For soprano voice and piano.
Premiered by Ensemble Volante at The Clocktower, Moonee Ponds June 2022.
Duration: 45' (approx.)
1. A Prelude to Nostalgia
2. Leaving the Nest: a song cycle dedicated to three Australian birds
i. Jitter Cry
ii. Aquila Audax
iii. Silver Shrike
3. Emerge (solo piano work)
4. Starry Night
solo
tsythema:amethyst (2022)
For solo bass-baritone. Composed for Andrew O'Connor in conjunction with Halcyon's First Stones Vocal Writing Intensive Program.
Duration: 2' (approx.)
A response to the poem 'A Jelly-Fish' by Marianne Moore, this piece explores water obscuring our vision, making objects or creatures seem more other- worldly due to the refractions of light. I was drawn to reverse certain words of the text to reflect this distortion, not only of what may be perceived through waters, but also of the esoteric nature of human dreams and desires. tsyhtema:amethyst is a lament for something that is just out of reach.
emerge (2021)
For solo piano.
Duration: 5' (approx)
This piece seeks to inspire the feeling of regermination: growth and awakening after a period of dormancy. With tangible images in mind such as the unfurling of a new fern leaf or the sprouting of a young flower, this piece combines elements of the natural world and the human experience as it celebrates a ressurection of one's own purpose and a sense of assuredness that they are on the right path.
film and theatre
Gravitas (2018)
For piano and electronics. Soundtrack for short film Venture, written and directed by Michael Irwin of Valiant Film Company
This work was developed in collaboration with electronic producer Alka Lines, who manipulated the sorrowful echoes of the piano chords into an all-encompassing wall of sound, reflecting the burden carried by the main character.
So Your Kid’s A Homo (2016)
For vocals and acoustic guitar. Soundtrack written for the short film So Your Kid’s A Homo, written and directed by Angela Belot
A comical and heartwarming story of a 16 year old girl coming out to her parents.
Vocals performed by Alisha and guitar performed by Kumar Shome.
Knights of the Old Republic: Rescue Mission (2015)
WINNER OF THE 2015 JMC MARTINI AWARDS: BEST MUSICAL SCORE
Soundtrack to the eponymous short film, directed by Dean Musumeci and Michael Irwin of Valiant Film Company
Performed by members of the Australian and Asian Orchestra alongside others, conducted by Robert Dora
It’s Alright, Sid It’s Alright (2013)
For solo piano. Soundtrack to the eponymous theatre production, written by Jess Stanley. Premiered at La Mama theatre in 2013.
The four actors in this play embody different combinations of characters to explore the depths and limitations of human connection.
The Pillowman (2012)
For solo piano.
This work was written in my final year of university. It explored the concept of music communicated as a form of non-verbal language. The music was inspired by a scene from the play ‘The Pillowman’ by Martin McDonaghwith, where it was heard alongside a video of the text. This was presented in a live setting experiment, where the audience heard the music firstly without the visual cues of the text and were asked to write down moods or responses they felt upon hearing the music. They then were asked to write their responses after seeing the music in combination with the text.