In October and November, I received several new recordings of pieces that I composed in 2022 and 2023. This post is an easy place to catch up on all of them in the one place, including my Trombone Concerto, a chamber piece that looks both backward and forward in History, and more!

AI that can generate passable pieces of music is here. So what are the artistic implications? And if an orchestra commissions a computer instead of me, who will be socially awkward at their post-show function? I’m much better at that.

Since 2020, I’ve written a year-end blog. In the proud tradition of creatives everywhere, I’ve used this to cast my activities in the best, most impressive light possible. But being “thrilled to announce” and “over the moon to reveal” all the time is tiring. So, in this year’s blog, I want to give a more open account of my year.

When people ask me what sort of music I write, I can struggle to give a pithy answer. To mark the arrival of my new website, here is an introduction to my music in 300 words.

My piece Nigel has been selected to represent Australia at the International Society for Contemporary Music’s 2023 World New Music Days festival in South Africa this November.

A Hamer Hall premiere from the MSO, the Laws of Motion receives three U.S. performances, the TSO Composer School gets underway, and selection for the 2022-23 Layton Fellowship.

I’m thrilled to be selected for the 2022-23 Layton Emerging Composer Fellowship with the Australia Ensemble UNSW.

A Sydney Opera House premiere with Omega Ensemble, a recording with Michael Kieran Harvey, selection for the MSO and TSO’s young composer programs, submitting my Masters thesis and more!