From calm to chaotic, apathy to fervour, my compositions emerge from the power of emotions—be they lived, envisioned, or simply perceived in those around me.

Explore my portfolio and breathe life into your next project or listening experience.

ORCHESTRAL

•  Seeing the Light [2025] c. 9’35”
    For orchestra
An orchestral adventure depicting the ongoing journey of self-discovery and conscious awareness that I pursue as a human being, both on a personal and creative level. It encompasses the exploration of the unfamiliar and the confronting of internal barriers, as well as the embracing of mindfulness and acceptance of life’s inherent unpredictability. Ultimately, it aims to foster a sense of purpose and authentic living that transcends external expectations.

---

•  Follow Your Heart [2021] c. 4’05”
    For orchestra
It is the heart which leads us on our journey through life as we grow and take on new layers, realising more complex experiences. Incorporating some minimalist techniques, this orchestral study explores gradual changes to melodic and rhythmic patterns, including repetition, canonic interplay, textural and dynamic variation and transitioning from simple to compound time, shedding new light upon the familiar. Follow your heart and all will make sense.

---

•  Dreamscape [2021] c. 3’00”
    For strings
Riding the corridors of wind, this thrilling 3-minute sonatina takes you on a musical adventure across stunning terrains of rich woodlands, expansive fields, and diverse wildlife, eventually arriving at the tranquil open sea.

---

CHORAL

•  Love Came Down at Christmas [2025] c. 3’20”
    SATB voices (with divisions) and Piano
The winning entry for the Aurora Choir’s inaugural carol composition competition 2025, this is my setting of the well-known Christmas poem Love Came Down at Christmas written by esteemed 19th century English poet Christina Rossetti (1830 – 1894). An untitled version of the poem was first published in Time Flies: A Reading Diary in 1885, with its current version first appearing in the compilation Verses in 1893, titled Christmastide.
For me, the poem embodies hope through emphasizing the importance of expressing love to others, in all that we do. To love and to be loved is innate to human nature, providing a deep sense of hope and fulfilment which we all desire. The words in the final stanza especially resonate as they urge us to demonstrate love through our actions rather than merely our emotions. Consequently, the poem delivers a profound and hopeful message which is particularly relevant in today’s world.
Structurally the carol follows the three distinct stanzas of the poem, with no refrain, varying the voices throughout. Key phrases from the poem are used to form a gentle coda, bringing the carol to its close. Like many traditional carols, melody and harmony is used to enhance the text. It also features an unaccompanied verse for the choir, allowing them to truly showcase their rich and harmonious sound, whilst also emphasising the resonant combined beauty of text, melody and harmony, for maximum emotional impact.

N.B. Also available: version for SATB voices (with divisions) and Organ

---

•  A Closer Walk with God [2024] c. 3’45”
    SATB Voices (with divisions) a cappella
This is a setting of words taken from the poem Walking with God by 18^th century English poet and Anglican hymn writer William Cowper (1731 – 1800). It was first published in Richard Conyer’s Collection of Psalms and Hymns in 1772, and later included in the Olney Hymns in 1779 after undergoing some revisions.
Performed by:  The Charles Wood Festival Singers
Venue:                  Methodist Church, Armagh
Date:                     15 August 2024

---

•  The Cloths of Heaven [2024] c. 2’20”
    SATB Voices (with divisions) a cappella
This piece is a choral setting of one of my favourite W. B. Yeats’ poems, He Wishes for the Cloths of Heaven, published in 1899. Using chords and chordal progressions that particularly resonate with me, it is intentionally written in a mainly chordal homophonic style to bring a pseudo-religious intimacy to the overall sound. This style, together with its blend of traditional and contemporary harmonies, rich in suspensions and with occasional cluster chord dissonances, gives it increased accessibility whilst also serving to enhance the poem’s central themes about love, desire and giving. The two-stanza hymn-like structure presents subtle changes within the musical patterns, creating individual tensions with variation, whilst maintaining its core texture.

---

•  Above the Dock [2022] c. 2’30”
    SATB Voices (with divisions) a cappella
This is a setting of T. E. Hulme’s poem first published in The New Age in 1912 as The Complete Poetical Works of T. E. Hulme. The piece sets the poem as written using sections of imitative polytonal counterpoint interspersed with homophonic textures to highlight the contrasting imagery.

---

•  Remember Old Christmas [2022] c. 4’00”
    SATB Voices (with divisions) and Piano
This is a setting of words taken from the poem Winter is Here by the 19th century English writer Eliza Cook (1818 – 1889), published in 1845 by Simpkin, Marshall and Co., London.

---

•  Sir Christemas [2017] c. 2’35”
    SATB Voices and Piano
My setting of an anonymous text from the 15th century, composed and submitted for the BBC Radio 3 carol competition in 2017. It was chosen as one of six finalist entries which led to the following recording of the piece by the BBC Singers, which was subsequently broadcast on Radio 3:
  *Listen here*

---

CHAMBER

•  Elegy for the Living [2025] c. 6’20”
    Bass flute, Bass clarinet in B flat and Fixed media electronics
Elegy for the Living merges fixed media electronics with live bass flute and bass clarinet to produce a musical contemplation on the transient essence of life and the flow of time. The fixed media electronics combine the vibrations of tuned wine glasses with heartbeats, symbolizing life and its fundamental rhythm. Both wind instruments express a free lament regarding the delicacy of life and its unavoidable conclusion.

---

•  Calm Amidst the Chaos [2025] c. 6’00”
    Kingma System Bass flute, Bass clarinet in B flat and Fixed media electronics
A piece for humanity with its interminable struggle between peace and violence. Combining fixed media electronics with live bass flute and bass clarinet instruments, it expresses a calm, yet malaise-ridden soundscape tinged with yearnings for peace. The electronics component provides a calm and tranquil atmosphere which is intermittently broken by sounds of distant war, alerting us to the presence of potential conflict. The deep resonant sounds of the wind instruments interweave to express brief moments of consonant and dissonant lyricism, reflecting struggle and exhaustion. Occasional extended techniques provide subtle textural interest which act as a reminder of the distant unrest.

---

•  For the Sake of Being [2024] c. 8’00”
    Kingma System Bass flute and Fixed media electronics
Combining fixed media electronics with live bass flute, the essence of this composition is the expression of the human psyche constantly pondering over the significance of existence, searching for purpose and meaning in life and the act of living. Serving as the backdrop is the unmistakable sound of breathing. Yet, while we all acknowledge the function of breathing as being essential to life, rarely do we pause to truly listen to it.

 

---

•  Conversation [2017, arranged 2025 ] c. 2’41”
Piano, Bass flute and Bass clarinet
Go shed those inhibitions and throw caution to the wind!

---

•  Elegy [2022] c. 2’10”
   ‘Cello and Wine Glasses
Elegy is a reflective piece for cello and tuned wine glasses, restricted to playing only the pitches of A, B, C, C#, E, F, and F#. The otherworldly, haunting sounds of tuned wine glasses provide a shimmering background for the cello’s lament.

---

•  Meanderings [2021] c. 2’50”
    Clarinet in B flat, Violin and ‘Cello
A study highlighting the beauty of dodecaphonic music using strict appliance of a basic/primary twelve-note row (O), its retrograde (RO), inversion (IO) and retrograde inversion (RI). The rhythmic phrases are used in equal measure throughout: the first is the five-bar rhythmic line of the opening twelve-note row, and the second, its five-bar retrograde.

---

PIANO SOLO

•  Flurries [2021] c. 3’20”

---

•  Unaccompanied [2021] c. 3’10”

---

•  Prelude – The Inevitable Goodbye [2020] c. 2’20”
Death represents the ultimate unknown; its inevitability compels people to experience a range of profound and intense emotions as they seek to understand and embrace its certainty. This short piece for solo piano delicately conveys some of these sentiments, encompassing reflective passages evoking sadness and loss, as well as more uplifting sections suggesting acceptance and the journey of progressing through grief.

---

•  Conversation [2017] c. 2’41”
Go shed those inhibitions and throw caution to the wind!

---

•  Entwined [2017] c. 4’55”
The interweaving and caressing of patterns was the premise of this intimate solo piano piece.

---

•  Inner Voices [2017] c. 3’52”
The focus was always on the inner voices for directing the compositional development and progression of this expressive solo piano piece.

---

•  Breathing [2017] c. 3’35”
Breathe with me whilst listening to this poignant solo piano moment, in celebration of Piano Day 2018.

---

•  Dreaming [2017] c. 4’50”
Originally conceived as a solo piano improvisation, this piece was created to commemorate Piano Day 2017.

---

•  Nocturne [1981, revised 2015] c. 5’01”
Originally written November 1981, this is the revised 2015 version.

---

•  The Question [1986, revised 2017] c. 2’50”

---