Chamber Music

Below you will find a selection of my chamber works.

To purchase a score, request further information or to commission a new chamber work, please message me via the link on the Contact page.


the lake (2018)

For recorder, cello and chamber organ.

Commissioned by Jason Catlett for Genevieve Lacey, Danny Yeadon and Neal Peres Da Costa as part of Sydney Festival 2018.

The premiere performances of this work took place at the Australia Council of the Arts offices on the 19th and 20th January as part of the Sydney Festival’s Seidler Salon Series.


THE nottingham poet (2017)

For flute and harp.

Composed for Alice Giles and Virginia Taylor in conjunction with the Sydney Conservatorium of Music’s inaugural National Women Composers’ Development Program (2016-17).

In October 2017 the National Portrait Gallery of Australia held the first exhibition to showcase the compelling watercolour images of English street people made by the itinerant English painter John Dempsey throughout the first half of the nineteenth century. This piece was inspired by Dempsey’s painting of David Love, commonly referred to as “The Nottingham Poet” (1750-1827). In my final year of high school, my art teacher rather romantically explained that "When you die, a whole world dies - because no one sees the world like you do". I was initially drawn to this painting for its simplicity, but later I realised that I was filled with wonder whilst looking at it. Here we see the most simple man, the only visual point of interest being the books he holds in his hands. But as simple as he may appear, here stands a wandering man with a million stories to tell - stories of adventure, love, heartache and change - which disappeared with his passing into the afterlife. I dedicate this ballad to David Love. May we daydream about the life he lived, the things he saw, and the people he loved and lost.

The premiere performance of this work took place in the Gordon Darling Hall, National Portrait Gallery of Australia on the 31st August 2017, hosted by the Canberra Symphony Orchestra.


colour burst (2017)

For unpitched percussion.

This piece was composed for Claire Edwardes in conjunction with the Sydney Conservatorium of Music’s inaugural National Women Composers’ Development Program (2016-17).

The work was inspired by my experiences of being in the colourful and energetic city of Guanajuato, Central Mexico, in 2012. Here I was blown away by the vibrant atmosphere and culture that seemed to spill out onto every little corner, and I recall having never experienced such a heightened awareness of everything around me. My mind was overloaded by the colours, the music, the sound of footsteps on cobbled streets and the music of the Mariachi men. I was captivated by their energy, their charisma, and most importantly, their rhythms. It seemed so incredible that these large groups of musicians could so seamlessly transition from what seemed to be pre-planned musical ideas to more improvised mass music making. The rhythms often seemed quite simple at the start of a new musical phrase, however grew in complexity as the music evolved. This concept was the main inspiration for this piece Colour Burst, in which I wanted to explore the idea of embracing simple rhythmic motifs and expanding their complexity over time. The main theme which is heard at the beginning of the piece was the primary driving rhythm used by one group of Mariachi men in the streets of Guanajuato.

The premiere performance of this work took place in the Sydney Opera House Utzon Room on the 24th June 2018.


Oh, Sister (2016-18)

For cello and piano.

This piece was originally composed as a solo cello piece for a workshop opportunity with cellist Georg Pedersen in conjunction with the Sydney Conservatorium of Music’s inaugural National Women Composers’ Development Program (2016-17). Oh, Sister communicates my feeling of deep despair and helplessness whilst watching my sister suffer the excruciating symptoms of chronic lyme disease. This distressing disease is largely overlooked by health authorities in Australia and beyond, and thus there are often very few answers for those suffering so terribly. This piece is dedicated to all those individuals who persevere with strength and courage in the face of suffering. This piece is for my dear sister.

Performed by Julian Smiles and Bernadette Harvey at the National Portrait Gallery of Australia in Canberra in August 2018 as part of the Canberra Symphony Orchestra’s concert Reimaginings.



For SATB choir, string quartet and piano.

Commissioned by the Leichhardt Espresso Chorus.

Performed by the Leichhardt Espresso Chorus and Melbourne’s Choristry in Melbourne in May 2017.



For two cellos and piano.

Commissioned by the Sydney Latvian Society in celebration of its 65th anniversary.

Performed by Michael Ierace, Ewan Bramble and Janis Laurs at Sydney Latvian House in March 2017.



Over the past decade I have become increasingly fond of the music of Latvian composer Pēteris Vasks, with whom I share my cultural heritage. Resting with Angels, my first work for string quartet, was inspired by Vasks' Vientulais Enģelis (Lonely Angel) - a Meditation for Violin and String Orchestra. In Resting with Angels I wanted to create a space in which the listener is invited to surrender into a deep state of meditation and find emotional healing through the music. Most importantly, I wanted to communicate light conquering darkness. The work was originally composed for a workshop opportunity with the Goldner String Quartet in conjunction with the Sydney Conservatorium of Music’s National Women Composers’ Development Program (2016-17), and in 2017 I was selected to workshop the piece further with Melbourne’s Flinders Quartet. This recording captures their premiere performance of this piece in Melbourne in December 2017.

Thank you to Haig Burnell for this recording. Photo: Sarah Walker.

in the autumn wind we sway (2016)

For SATB recorders.

Commissioned by Peter Petocz and the Judgment of Paris Recorder Ensemble.

In the Blue Mountains region of New South Wales you will find a magical place called Mount Wilson. Mount Wilson is particularly magnificent in the autumn time when leaves of a million different colours whirl in the wind and settle to the ground as nature prepares for winter. This piece was inspired by fond childhood memories of exploring this beautiful area and the image that it imprinted in my memory.



For solo SSTB, violin and piano.

Performed by Alex Oomens, Imogen Maltifano, Damian Arnold, Daniel Nicholson, Tiffany Cheng and Alisa Bernhard at the Sydney Conservatorium of Music in November 2014.



For three marimbas.

Performed at the Sydney Conservatorium of Music in October 2012.



I composed this work in my final year of high school. The piece was selected for inclusion in the ENCORE programme of 2009 - a showcase of musical works by students from that years Higher School Certificate Music Examinations, held in the Sydney Opera House. In 2012, the Music Teachers’ Association of NSW awarded this piece first place in the Frank Hutchens Scholarship for Composition, as judged by composer Ann Carr-Boyd. Ann described this piece as “a very sensitive work.. This piece to me has that extra something including a very personal voice; a very assured voice - the placement of themes, their use and re-use, was faultless. Orchestration was truly brilliant and the use of the voices masterly - in fact it was the sort of score where you felt that everything was so right that you didn’t actually have to think about it.”

Instrumentation: 6 voices, 2 cellos, double bass, acoustic guitar and piano.

Performers: Vocalists: Laura Esplin, Madeleine Gearside, Charlotte Fisher, Jessica Thompson, Niki Karydis and Penny Fisher. Cellists: Kenny Mizushima and Helen McIntyre. Double Bassist: Karl Dunnicliff. Guitarist: Daniel Winney. Pianist: Ella Macens