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. Two earlier septets were followed a set of three chamber concerti and a more recent wind octet.

The septets both have extra-musical points of departure: a late paper-cut by Matisse, and a poem by Emily Dickinson (she being a recurring catalyst for pieces). These have both been played in the USA and the former also in Finland by members of the great 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. The more recent Gran Partita for wind octet is dedicated to Czech Phil. Winds

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