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Works for woodwind (solo, solo + 1)



[= Blitz + Resignation + Agité I]
1991 – 2011: 12 mins. 45 secs. approx.

All three works can be performed individually, or as part of the larger work.
(i) Blitz. 2006: 4 mins. 15 secs.
(ii) Resignation. 2001: 5 mins. 30 secs.
(iii) Agité I. 1989 rev. 1991: 3 mins.


[2nd movement of Triptych or standalone work]
2001 rev. 2011: 5 mins. 30 secs.

Resignation was written during a time when I was questioning the wisdom of continuing with composition – after a series of, in some cases particularly insulting, rejections. After a period of outrage and disappointment at these decisions, I determined nonetheless to persevere with my work, content in the knowledge that I am at the very least pursuing my chosen course honestly, openly, and competently.

Resignation was premiered by Elizabeth Barcan in Melbourne on 28/5/2006.

Elizabeth Barcan


[1st movement of Triptych or standalone work]
2006: 4 mins. 15 secs.

Blitz was premiered by John McMurtery at Grace-St. Luke’s Episcopal Church in Memphis, USA on 20/6/2013 as part of the 7th Belvedere Chamber Music Festival.

Score Sample (PDF)

In action during the premiere of Blitz at Grace-St Luke’s Church, Memphis — John McMurtery Photo: Lucy Owens


2005: 6 mins. 15 secs.
Score Sample (PDF)


bass flute.
2005: 3 mins. 10 secs. approx.

Solitary was premiered by Linda Wetherill in New York in August, 2007.

Linda Wetherill


Bb bass clarinet.
2002: 5 mins.

“…There is no fate that cannot be surmounted by scorn…”

from The Myth of Sisyphus, by Albert Camus.

Scorn was premiered in the Great Hall at King’s College London on 8/3/2004 by Carl Rosman, who also gave the first performance in Germany in Stuttgart on April 6th the same year.

Score Sample (PDF)

Carl Rosman

Agité I

[3rd movement of Triptych or standalone work]
1989-1991: 3 mins.

Agité I was premiered by Suzanne Hornsby in Melbourne in 1993. Its first US performance was by Linda Wetherill in New York in 1998, and its European premiere was given in Braila, (Romania) by Alexandru Hanganu in 2000. It has been performed and broadcast many times by Melanie Chilianis of the Melbourne-based ensemble re-sound, and is available on their self-titled CD.

Solo + 1

…on the edges of a plan…

flute + piano.
2014: 6 mins. approx.

“Pinned my hopes on vanishing lands
Thought I could be caught like
Smoke with two hands, alive
I’m a Wanderer on the edges of a plan…”
from The Wanderer, by A Lonely Crowd (Luke Ancell, Scott Ancell, Xen Havales)

…on the edges of a plan… was completed in March 2014, and is approx. 6 mins. long.
Score Sample (PDF)


oboe + vibes.
[4th movement of Tortus or standalone work]
2012: 7 mins. 45 secs. approx.
(a) 2’00” approx. (b) 2’45” approx. (c) 3’00” approx.

Espiral can be performed either as a standalone work, or as the fourth of six in Tortus.

“The spiral is a spiritualized circle.
In the spiral form, the circle, uncoiled, unwound, has ceased to be vicious;
it has been set free…”
from Speak, Memory, by Vladimir Nabokov.

Espiral was completed in April 2012, and is approx. 7 3/4 mins. long.

Score Sample (PDF)

…the principle of looking…

Bb bass clarinet + 5 octave marimba.
2008 rev. 2021: 9 mins. 15 secs.

“…all these constructions and the laws connecting them can be arrived at by the principle of looking for the mathematically simplest concepts and the link between them.”

Albert Einstein.

…in Coils…

oboe + viola.
[1st movement of Tortus or standalone work]
2011: 4 mins. 30 secs. approx.

…in Coils can be performed either as a standalone work, or as the first of six in Tortus.

“…the Drawling-master…taught us Drawling, Stretching, and Fainting in Coils.”
from Alice’s Adventures in Wonderland by Lewis Carroll.

“…Cogs and disks, inane mechanic whims,
And idle coils of jargon yet unspoken…”
from Sonnet : To Eva by Sylvia Plath.

…in Coils was completed in January 2011 and is approx. 4 1/2 mins. long.

Score Sample (PDF)


flute + vibraphone.
2007: 3 mins. 10 secs.


Bb bass clarinet + percussion.
1998 rev. 2000: 6 mins.

Slap is a short work of about 6 ½ minutes duration that rather obviously takes its title from the opening slap tongue of the bass clarinet, but also observes that slap is one of those words that turns up in many other combinations e.g. slap-bang, slap-stick, slap-up, slap in the face, and slap and tickle to name a few. The sense of some of these other terms has doubtless found its way into this piece, (hopefully not slap-dash).

Slap was written for Duo Contemporain, and is dedicated to Henri Bok and Miguel Bernat.

It was premiered by Duo Contemporain at the Totally Huge New Music Festival in Perth on 9/5/2000, and underwent minor revision thereafter.


Bb clarinet + piano.
1998: 5 mins.

split: v.t. to cut lengthwise; to cleave; to tear apart; to separate; to divide; – v.i. to break asunder; to dash to pieces; to betray a secret.

“Split is a high-energy work with great rhythmic intricacy. Flutter tongued notes, trills and strong chords, which are split into jagged and angular flourishes for both instruments, plunge us into a short but intense and dramatic sound world.”

Robert Chamberlain [used by permission]

“Split can be described as an abstract but highly-charged modernist chamber work…derives much of its energy and continuity from short note values combined in irregular but active rhythms and gestures…one always senses a clear and consistent pitch structure…”

Thomas Reiner [used by permission]

Split was premiered by [pianist] Robert Chamberlain and [re-sound clarinettist] Paul Todd in Melbourne on October 17th, 2002.