"Music is feeling, then, not sound;
And thus it is that what I feel, Here in this room, desiring you, Thinking of your blue-shadowed silk, Is music." (Wallace Stevens, Peter Quince at the Clavier) |
4'. For orchestra.
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A piece about Mughal illuminated manuscripts.
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13'. For fl., hn., vln., vc., and theorbo.
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Four coagulations for trio.
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8'. For clarinet trio.
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A ceremony for siphoned demijohns.
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18'. For flute, violin, cello, percussion.
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Score
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A meditation for ensemble, based on the piece of the same name for solo accordion.
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5'. For any combination of 6 or more instruments.
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A piece of night music with warped electronic echoes.
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6'. For piano, double bass, percussion and live electronics.
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Score
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A piece for accelerating string quartet.
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4'. For string quartet.
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A piece about failure, written for Zoe Martlew. A partner piece for Horatiu Radulescu's Intimate Rituals.
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A piano quartet that gets happier as it goes along.
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16', with an excerptible movement. For Piano Quartet.
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A setting of a Quaker funerary text by William Penn.
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5'. For choir.
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A song about seeing all of creation in a ball the size of a hazelnut. Text by Julian of Norwich.
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5'. For choir.
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A song about time in isolation.
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6'. For choir.
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A song about losing friends.
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5'. For choir.
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A song about blindness and waterfalls.
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4'. For soprano and piano.
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A song about death.
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16'. For choir and live electronics.
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A setting of Hildegard of Bingen's imaginary language for a film by Paul Vernon.
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10'30". For synths, soprano and film, or soprano and electronics.
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A cryptid for solo violin.
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Score
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A suite for guitar, in four genres.
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10', with four excerptible movements.
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A virtuosic tune for double bass.
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9'. For solo double, scordatura.
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A suite of dusty pieces for muted, detuned harp.
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12', with four excerptible movements. For solo harp.
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A meditation for singing accordionist.
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5'.
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A suite for synthesisers about desire at a remove.
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28'. For solo electronics.
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All photographs by Ilme Vysniauskaite
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