Hommage À Xenakis
       
     
Nocturne for solo harp
       
     
The Space Inside
       
     
À Contre-coeur
       
     
       
     
Lustrum
       
     
There Once Was
       
     
Micro + Macro (Extract)
       
     
When Cracks Appear In Porcelain
       
     
I/O No. 1 Construction
       
     
Ebb And Flow
       
     
Heartwood
       
     
Still Life IV: Undercurrents
       
     
Monster
       
     
 Workshop performance by Cassiopeia Winds at the Irish Composition Summerschool, 5th July 2014.   Instrumentation:  flute, clarinet, oboe, bassoon   Type:   ensemble    Year:   2014    Duration:  4’45    Photo by Nathy Coleman
       
     
       
     
Undercurrents
       
     
RUNNING BLIND 2017 at RuaRed Trailer
       
     
A Pairing (extracts)
       
     
       
     
Horizontal and Vertical
       
     
It is architecture
       
     
Die Zauberflöte
       
     
Landscape for solo horn
       
     
Love Song #1
       
     
       
     
Sleep of Reason
       
     
Spectra: Space as an Organism
       
     
A Child's Vision
       
     
Ballade for Guitar
       
     
Breathe
       
     
Bridges
       
     
Frameworks
       
     
Just beneath the surface
       
     
I've never felt so alive
       
     
Look at it other way round
       
     
Quietly turning to dust
       
     
  Instrumentation:  soprano, piccolo, bass clarinet, viola, cello, piano   Type:   ensemble ,  vocal    Year:   2015    Premiere:  Performed by Alluna Ensemble and soprano Sara di Bella,  7th May 2015, RIAM.   Duration: 2’     Red Mass was written for performance by the Alluna Ensemble and soprano Sara di Bella as part of RIAM's 'Responses to Pierrot Lunaire' Project in May, 2015. I used the text and instrumentation from no. 11 'Red Mass' or 'Rote Messe' of Schoenberg's Pierrot Lunaire. For the final two lines in my piece the singer uses the German translation. 'Sein Herz - in blutgen fingern - Zu grausem Abendmahle!' It is a transformation representing the desanctification of the communion which is described in the text.  To gruesome grim communion,  By blinding golden glitter,  By flickering shine of candles,  Comes to the altar – Pierro_  His hand, to God devoted  tears wide the priestly vestment,  At gruesome grim communion,  By blinding golden glitter.  He makes the sign of the cross  blessing the trembling, trembling people,  with trickling crimson wafer:  his heart in bloody fingers,  at gruesome grim commumion     English translation by Andrew Porter. Text by Albert Giraud
       
     
String Trio No. 1
       
     
"Since when", he asked, "Are the first line and last line of any poem, Where the poem begins and ends?"
       
     
Diamond Cutting