Notated Works

A selection of some recent pieces. Scores and more information about the music below is currently available online via the British Music Collection.

Anticlock (2019)

for amplified ensemble (nine players) and pre-recorded voices

Written for Decibel and premiered by them at Cafe Oto. An exploration of the ambiguities of clock time, numbers, mind control, musical 'machines', extra-terrestrial communication and dog behaviour, with unreliable speaking metronomes that the ensemble alternately obeys or counteracts. Written in thirteen movements, which fluctuate between the exuberant and the sinister without warning.

Instrumentation: violin, recorders (soprano/alto/tenor), bass clarinet, baritone sax, trombone, percussion (marimba, vibraphone, wood blocks, crash cymbal, bass drum, dog clickers), piano, electric guitar, bass guitar, and playback. Everyone doubles on dog clickers.

Five Loops for the Bathyscaphe (2018)

for piano trio and pre-recorded voices

Written for members of the Britten Sinfonia and premiered on tour by them in Early 2018. An elliptical 'chamber music documentary', drawing on oceanological data and the recollections of Jacques Piccard and Don Walsh, who journeyed to the deepest known part of the ocean, the Mariana Trench, on 23 January 1960, reaching the floor nearly eleven kilometres down. Their vessel for the five-hour descent was the Bathyscaphe Trieste, a tiny sphere with just enough room for the two men inside, built to withstand the enormous pressure of the water, with a huge float chamber filled with petrol for buoyancy, and iron pellets for ballast.

The piano trio plays a slow-motion, drifting kind of music, while the recorded voices act as timekeepers, speaking numbers, the scientific names of deep-sea creatures, and lines derived from Piccard's poetic recollections of the experience.

Affix Stamp Here (2016)

for voices (at least 4 performers), analogue synthesizers and projections (optional)

Written for EXAUDI and premiered by them at LSO St Lukes. The piece is a sequence of songs that set the messages written on found picture postcards, giving fleeting insights into the lives and personalities of the (almost) anonymous writers. Each song is 'framed' by revolving drones and captions (either projected or spoken) that confirm a place and time. The version below is the premiere live performance, accompanied by the images from the cards.

Freezywater (2016)

for ensemble (piano, reed organ, strings and percussion) and pre-recorded voices

Written for Apartment House and premiered by them at the Wigmore Hall. The words are fifty topographical features (hills, rivers, roads, woods, etc.) found in a huge circle around Outer London. The music incrementally changes, one note gradually transforming into a phrase. like the landscape in a motorway journey, the music is always similar but never the same.

The Indistinguishables (2014)

for string quartet and pre-recorded voices

Written for Quatour Bozzini and premiered by them at the //HCMF 2014. The piece works through a sequence of seventy names of moth species sighted in Britain, each accompanied by a chord or phrase - a fleeting soundtrack. The dissembodied voice is triggered via footpedals, so the quartet is always in control of the pacing and length of the silences.

Vapour Descriptors (2014)

for two pianos

Written for Kate Halsall and premiered by her and Fumiko Miyachi at the //HCMF 2014. The piece uses the weird adjectives of the scent industry (sung by the pianists), coupled with closely-related, vapour-trail harmonies. The pianos are spaced as far apart as possible, for a wide stereo image, and play in rhythmic unison only briefly.

This studio recording is by Kate Halsall and Leo Chadburn (pianos and voices).

Brown Leather Sofa (2013)

for large orchestra

Written for the London Symphony Orchestra. Later released on CD as part of the 2015 album, 'The Panufnik Legacies II'.

X Chairman Maos (2011)

for voice and amplified ensemble

Written for Apartment House and premiered by them (with Leo as vocalist) at the De La Warr Pavilion, Bexhill, as part of their Andy Warhol retrospective. A setting of the infamous "letting a hundred flowers blossom" speech made by Mao Tse-tung in 1957, re-harmonised and re-orchestrated line by line, analogous to a set of screen prints in various hues.