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A is for Aiyahww[22.214.171.124] 2hn 2tpt 1tbn 2perc 1pf str[10.8.6.4.3]
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Commission by the National Arts Council Singapore especially for the Singapore Festival en France, this work was written between November 2014 - January 2015. This piece is dedicated to my daughter Emma that was born shortly after the termination of the piece.
This piece is a potpourri of ideas and memories of my hometown Singapore. It contains influences of the Indian Tala, the Gamelan Scale and other elements like the accelerating glissandi often found in Traditional Chinese music. However, all of these musical memories are sieved and re-presented in a contemporary-styled energetic 6 minutes.
Flashed and Forgot: The practice of my absentmindedness II
iotaIn this particular piece iota for Klangforum Wien, I wanted to build rich and constant changes in timbre using small attacks at the starting point; to use the combination of instruments to create a composite rhythmic and melodic line. I also wanted a work that has a clear pulse / groove as one of its characteristics. The idea is to use the smallest “insignificant” details and to create a larger global richness. The melodic lines are often short and split between different instruments and making sense of it all requires taking in the global sound of the entire ensemble (Klangfarbenmelodie, if you want).I find all the ideas of “insignificant” details and things used in combination to build a strong and larger global richness to be uplifting and beautiful, especially in the state of affairs of the world today. It is in this spirit that I started writing iota.
Commissioned by impuls International Ensemble and Composers Academy for Contemporary Music and Ensemble Klangforum Wien. Premiered by Klangforum Wien (dir. Enno Poppe) on 10 February, 2017 at Helmut Liste Halle, Graz, Austria.
Incantare:take2fl cl vn vc pf perc
un deux trios quatre cinq15 instruments
Incantarefl cl vn vc pf perc
Donc ce sera…rec fl ob cl
Cross-sightednessfl bcl tpt tbn pno perc vln db
Autour de Moi 1 - 7fl cl vln vc pf perc
Flashed and Forgot: the practise of my absentmindednessfl cl vn vc pf perc
The Vociferated Voidfl cl vn va vc pf perc
AZsop 2perc acc
and then there were 44sax[SATB]
all that we see(m) 2pf 2perc
he said // she saidtsax bcl elec
Arboretum: of myths and treessop picc bcl hrp pf elec
If I were...5ww[fl ob cl bn hn] elec
(Ro)ob(ta)ject(tions)4str[2vn va vc]
[Ro]ob[ta]ject[tions] is a continuous work consisting of 2 parts: The main section [Ro]ob[ta]ject[tions] and a shorter Epi[Inter]lo[lude]gue. The 2nd section was added on at a later date to extend the work ala DVD bonus material style as a series of compressed outtakes and can be used as an epilogue to the main section of the work or as an interlude between 2 repetitions of the main section. This serves to give the form of the work and its duration some flexibility. Hence the piece could last for approximately 7 minutes or 12 minutes depending on the interpreters choice.
Premiered by the Arditti Quartet on 12 March 2010, at the LSO St. Luke’s, London, UK, as part of the BBC-Total immersion Wolfgang Rihm programThis piece was later nominated for the Gaudeamus Prize in composition 2011.
In a vision, or in none2pf 2perc
Ten Pieces for Pierrot Ensemblefl cl vn vc pf
The title [p][k][t] refers to the consonances that are uttered in the piece.
I wanted to write a piece utilising only live processing and no pre-recorded audio sounds. I chose the piccolo because I am fascinated by the constraints that comes with working with such an enigmatic and difficult instrument. The piece is percussive, with delicate activities and the instrumental writing developed with the uses of a lot of vocalisation and percussive utterances. I am partial to this type of sounds and I found that plosive and fricative consonances on the piccolo give a very unique sound. One of the aims was to find an instrumental writing (in certain parts of the piece) that is neither vocal nor instrumental; something between the two.
For this piece, I view the electronics as an augmentation and enhancement of the instrumental writing itself and with all the electronic sounds are processed live. This piece is dedicated with thanks to Adriana Ferreira and Emmanuel Jourdan, my working partners!
Plus que des cléspf4h
Extremely Loud and Incredibly Close IIvc bn
Shiru hitu zo shiruvv[Noh] perc
Extremely Loud and Incredibly Closeva bn
5 Pieces for Catarina Domenicipf
7 Etudes per Paolo Cavallonepf
VoyellesCommandée par ERDA-accentus pour le jeune choeur de paris, cette oeuvre “voyelles” utilise le poème Les Voyelles de Rimbaud.
Comme avec toute la musique chorale, la coordination et l'ajustement des voyelles entre les chanteurs a une importance capitale pour créer un son unifié. Par conséquent, je sentais que ce poème était idéal pour ce contexte de travail avec les jeunes chanteurs. En outre, j'ai été attirée par l'idée de pouvoir articuler 5 sections de musique basées sur les 5 sons de voyelles. Chaque section est caractérisée par un travail sur une voyelle spécifique. La pièce se termine par un moment qui fait entendre toutes les voyelles présentées durant les 5 sections qui précèdent.
J’envisage cette pièce comme une exploration du timbre par le jeu des voyelles. Je choisis de me concentrer uniquement sur des textures et des harmonies contrastées afin de mettre en valeur l’essence du texte et de manière à permettre aux chanteurs de se concentrer sur ces voyelles en leur laissant un espace de liberté pour l’interprétation.
Commissioned by SYC Ensemble Singers (dir. Jennifer Tham)Vak is a collection of 3 short pieces for choir. The Text - or “syllable choices” of this piece was written and adapted for its onomatopoeic qualities. Phrases and memories of kopitiam talk, and school time recitations of Mandarin tongue twisters hide within the text. Vak is the Sanskrit word for speech, personified goddess, source of creation, and bringer of truth; at the same time, it is also a mix of utterances that form an aural memory of Singapore.
Salutanya: Prelude “Nonsense now, definitely no sense later…”
Vak: “When in doubt, pray, split, ramble, and just breathe…”
Salutanya: Postlude “It is best to entertain oneself with song when someone is obviously spouting nonsense”
The Boy who lived down the lanemez bar fl cl pf perc vn vc db
Je suis un chanteurtheatre piece
Worshippers of the Machineelec[improvisation] dancers
American Girlstheatre piece