My ensemble pieces bridge the gap between chamber and orchestral worlds, with relatively expansive canvases, and a scoring that generally feels full and sonorous whilst retaining a degee of intimacy. These works divide neatly into two groups: a pair of (unrelated) septets and a series of chamber concerti.

The septets both have extra-musical points of departure: a late paper-cut by Matisse, and a poem by Emily Dickinson (a recurring catalyst for pieces). These have both been played in the USA and one also in Finland by members of the famous Lahti Symphony Orchestra.

A series of chamber concerti uses similar configurations based around a wind quintet with strings/piano. Two are miniature "concerti for orchestra", the other a true concertino with double bass soloist. I foresee a further crop of such pieces at some point. Being "between sizes" perhaps makes them a little more difficult to programme but I feel this sort of formation, once popular in early Romantic times, has much potential. The third of these works was a commission from the resident ensemble at the Paul Klee Centre in Bern, Switzerland, in 2010.

Please explore the further below. When you click a window will open where you can read programme notes, listen and view the score/parts.