2003 For Every record player there is a record it will not play (60’) for guitar, piano and broken vinyl record

A homage to Jean Sibelius, in particular to the thirty years of creative silence, from 1926 until his death on the 20th September 1957, during which the public were always anticipating another great masterpiece. There has been much speculation as to why he just stopped composing, but evidence suggests that he was tormented by some unarticulated struggle which seemed to prevent him connecting to his inner voice. The material for the 360 musical events derives from Sibelius’s last completed work, Tapiola Op. 112, a meditation on the forest-god of Finnish mythology, and the harmonies have been put through various mathematical permutations based around a tonal centre of B. This is the basic tonality of Tapiola and of its final chord, probably the last chord he ever wrote. This is where the record gets stuck, freezing this signing-off moment in an eternal present. 

2018 The Boatman for flute, vibraphone and piano (25’)

After his famous sojourn described in “Walden”, Henry David Thoreau, a land surveyor by trade, became a technical consultant for the River Meadow Association, in a protracted legal dispute for dam removal, a “flowage controversy” pitting the local farmers against the industrialists. He lamented human interference with the natural world and the waterways in the Concord River Valley which fed into Walden Pond. 

This piece is a kind of meditation on the waterways, the constant flow and transformation, always the same but never the same. It takes as a starting point the flute phrase which appears in the final bars of Charles Ives’ Piano Sonata no 2 “Concord, Mass.” In Essays Before a Sonata, Ives reflects on Thoreau's state of mind in his solitude "his meditations are interrupted only by the faint sound of the Concord bell, a melody imported into the wilderness...At a distance over the woods the sound acquiresa certain vibratory hum, as if the pine needles in the horizon were the strings of a harp which it swept, a vibration of the universal lyre, just as the intervening atmosphere makes a distant ridge of earth interesting to the eyes by the azure tint it imparts. It is darker - the poet's flute is heard out over the pond, and Walden hears the swan song of that day, and faintly echoes." (pp68-69)

2019 Objets Révolutionnaires 7 - 10 for flute, cello and piano (15’)

Continuing the projected series of 30 based on the French revolutionary calendar, a decimal system of dividing time, created and implemented during the French Revolution from 1793 to 1805 when it was abandoned. The months were divided into three “weeks” or “decades” of 10 days each, named after trees, flowers, fruits and flowers, but every 10th or “décadi” was named after an object or agricultural tool. The pieces are composed on the relevant day.

7 Pioche
8 Hoyau
9 Pelle
10 Fléau

2019 Paris qui Dort - le thème d'amour for cello, double bass and piano (5')

2021 In my mind are all the tides for violin, trombone and piano (10')

A weird and dark vision from the novel "Piranesi" by Susanna Clark, an immense prison-like building whose basement contains a turbulent sea.