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.

[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 program
This piece was later nominated for the Gaudeamus Prize in composition 2011.

[p][k][t]

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!

Voyelles
Commandée 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.