Instrument(s) & electronics
foraging music no. 1, 2014 – clarinet/fixed media (10’30), commissioned On The Edge Concert Series, Scarborough College, University of Hull, performed Jonathan Sage, April, & iFimPac, Leeds College of Music, March 2014 listen
waternish ballad, 2014 – Scottish folk fiddle/fixed media, commissioned SOUNDfestival, Banchory, performed Sarah-Jane Summers
mobius ii, 2011 – hardanger fiddle/fixed media (13’00), commissioned HCMF 2011, performed Britt-Pernille Frøholm, Rikscenen, Oslo, November 2012, Biermansgaten, Bidrobon Concert Series, Oslo, April 2013, & SOUNDfestival, Banchory, 2014 listen
One of my signal pieces, marking a significant change in direction. First of pieces to focus on single instrument & ambient electronic backdrop. Written while on a two-part extended residency to NOTAM, Norway 2011. 22 July witnessed the Utøya massacre, which took place midway in the writing of this piece. Shocked to the core, hearing of the day’s events on my kitchen radio in Yorkshire, stunned and moved, knowing that hardanger fiddle & traditional tunes from the West coast formed the material and focus of the work, I resolved to create my own tribute to the young politicians. Returning to Oslo in September to complete the work, NOTAM kindly facilitated a trip to the edge of the Tyrifjorden lake, surrounding the island of Utøya, where I made a field recording included in the work. Serendipity took a part in the recording. On a beautiful, profoundly stunning blue-skied day, I found myself accidentally recording golfers hitting great shots, having extremely great rounds, proving in a most life affirming way, life goes on. These were left in, included in the track. The length of the opening of the piece, is dedicated to this part. A reflective pause, for Utøya. Norway’s hardanger fiddle features, with its distinctive resonant sound, with sympathetic strings, calling us to the open spaces, hills, & mountains of the fjords.
Staged piano & 2 electronic tracks simultaneously, one of which is staged by being projected onto a performing/radio. The radio track’s broadcast character is nostalgic, glitchy and features iconic T.S.Eliot content. Overall narrative atmosphere evoked, through pianist ‘working through’ an improvisatory sounding score; projected nostalgic radio 1950’s style Home Service programme, with T.S.Eliot fragment, and second ambient background track, combines to create a unique performance onstage spatialisation. The fragmentary nature of each component part, their non-fixed form means each performance is new in their connectivity with each other. A fragile, honed and shaped piece.
and in the end, fragments. the rest is noise, 2018 – piano (optional minimal fixed media), commissioned SOUNDfestival, performed Kate Halsall, Aberdeen 2018
nothing good gets away, 2018 – for ensemble (fl, oboe, vla, van, cello, trumpet, 2 bassoons), commissioned Any Enemy ensemble, Aberdeen, performed SOUNDfestival, Aberdeen 2018
two harp pieces, harp & ensemble piece, commissioned Norskkultuurråd, 2016.
McNally’s song, 2017 – harp.
Dedicated to the feisty Susan McNally.
Bremen lovesong, 2017 – harp (optional minimal fixed media), performed Sentralen, Oslo in March 2018.
tin can, 2017 – harp, & flute, percussion, cello, commissioned Norskkultuurråd, withdrawn
court music, 2005 – for ensemble Orkest de Volharding (6’30)
zelfde, 2005 – flute, clarinet, piano
lickety spit, 2003 – flute, (9’00), commissioned Camilla Hoitenga, performed Finnish Institute, September, Paris
poland-mazurka’89, 1989 – piano, performed Frank Denyer, Nottingham New Music Festival, University of Nottingham, spring 1990
last year’s b/f, 2018 – three operatic-style songs for soprano; two performed w piano; the central song is performed-slam-poetry w optional fixed media. Commissioned Hull URBAN opera, performed by Rosie Middleton, Paragon Arcade & Brain Jar café, Hull, July 2018.
Designed, curated to create an arc of dramaturgy. The two outside songs (piano accomp.) of the trio are overly emotionally charged, with an excess of romanticism, designed to be expressly & overly sentimental, following a long-line of romantic operatic song, across time. The companion antithetical middle slam-poetry/spoken-word piece, (electronic accomp.), is a rhythmic and textual contemporary ode to the frustration of App-based affairs with narcissists. Not mincing words, & explicit.
kleurenspelletjes, 2015 – Huygens-Fokker Orgel, Muziekgebouw, Amsterdam, performed Masato Suzuki March 1st, commissioned Stichting Huygens-Fokker.
contrasting symmetries, 2014 – Duo Hevans (bass cl.,&sax)/Huygens-Fokker orgel & electronics, Muziekgebouw, Amsterdam, co-creation w Monty Adkins (electronics)
island music, 2012 – fixed media (7’00) commissioned NOTAM, Oslo; performed Rikkscenen, Oslo, Dialogues Concert Series, Huddersfield, June 2013, ICMC Perth, August 2013 & 8th Biennial Music since 1900 Conference, Liverpool Hope, Sept 2013 listen
Created during valuable NOTAM, Oslo residency. Weaves together natural, evocative island sounds; wind, as an elemental force; abrasive, ‘brasive harsh sounds; the formal structure being as of an elemental mass, which evolves, peaks into a mass of sound, then dissipates, much as an island tempest. One of my favourite pieces. Works extremely well in space; mixes idea of a formally formed structure, with that of a sound-art installation; verges also towards just a wall of noise. Gritty and harsh.
tot 8 uur, 1998 – soundtrack to korte film by Marco Niemeijer (NL), 25 min.
Terwijl haar man zaken doet, dwaalt een vrouw door de straten van een Portugees havenstadje. Ze voelt zich ongemakkelijk in deze vreemde omgeving. Hoewel ze verschillende bewoners van het stadje ontmoet, ontstaat er geen wezenlijk contact. Ze blijft een buitenstaander. Productiebedrijf, Gerrit Rietveld Academie Distributie, Phanta film. Cast, Saskia Temmink, Leopold Witte
kinderspel, 1995 – tape/audio-visual, (collaboration, Steve Connolly/Central St Martins), SAN commission. Mention, Prix Ars Electronica, Linz, 1996. Performed Southbank, State of the Nation, 2000, listen
‘State of the Nation was a weekend of contemporary music organised by a combination of the London Sinfonietta, the BBC, the South Bank Centre and a host of specialist music organisations….The grand finale on Sunday evening went right over the top with a multi-media assault on the senses including the frenetic JunkBox Fraud, by Donnacha Dennehy, a cryptic Kinderspel by Rose Dodd.. (both with video and sound-projection).’ London Sinfonietta|South Bank Centre, London, INDEPENDENT 19 April 2000
yellow heaven, 1994 – tape
grenzen, 1994 – tape, Radio Art Symposium, Goethe-Institute London 1998 & Sender Freies Berlin 1995