Extract from the world premiere with Hallé Orchestra and Jonathan Bloxham

Where is the chariot of fire?
Where is the chariot of fire?
                            – Lemn Sissay (Godsell)

Where is the chariot of fire? [EXTRACT]

Rosalind 
for Soprano, Baritone, and Piano 

Commissioned by Leeds Lieder for the 10th Anniversary 2020 Festival, 
with the generous support of Peter Hirschmann, 
and the Royal Philharmonic Society. 
Set to words by Sabrina Mahfouz, 
commissioned by the James Cousins Company. 
Used with the author's permission. 



This collection of songs sets five of Sabrina Mahfouz’s 
‘Rosalind’ poems, which are an intimate exploration of 
a most dynamic Shakespeare character. 
The two voices journey through the nuanced complexities 
of gender, both together and separately, culminating in a 
brief fluid exchange. 
Music Box Circle Dance Songs interweave the second and 
fifth, denoting the free, child’s play gaiety of ‘Ring a Ring 
o’ Roses’ in the former, the latter imbuing the ritualism of 
the Plantation Ring Shout.

Rosalind [EXTRACT]

Violin ( + Voice, and five wind-up music boxes)

Tuxedo Crown; Sun King [EXTRACT]

Extract from the World Premiere at Wigmore Hall, London on 8 March 2022

Elaine Mitchener vocalist
Sarah Saviet cuffed violin 1 / music box
Mira Benjamin cuffed violin 2 / music box
Heather Roche harmonica 1 
Siwan Rhys harmonica 2  / music box 
Bridget Carey music box 1
Tamaki Sugimoto music box 2

Tuxedo: Between Carnival And Lent [EXTRACT]

Ekmeles live world premiere recording at the crypt of the Church of the Intercession, New York City on Friday 27 May 2022. 
Editing and mastering: Murat Çolak 

Commissioned by Ekmeles, the piece reimagines the songs, cries, lamentations, incantations, and sighs of M. NourbeSe Philip’s book-length poem Zong!, which is itself a reworking of the 1783 legal transcript of the Gregson vs. Gilbert case that details the drowning of 130 enslaved Africans, having been thrown overboard the British slave ship, Zong, en route to Jamaica.

Voices initially emerge from a meditative chorus of harmonicas, an instrument associated with Afro-diasporic sorrow, uttering fragmented text, and chanting biblical passages that conjure images of bones, tendons, and flesh, whilst classic(al) tunes referencing water interweave the textures from tiny wind-up music boxes.

I am deeply grateful to M. NourbeSe Philip for granting the permission to set their iconic, and groundbreaking text for this commission.

this is but an oration of loss

Live performance recording by Anne Denholm.  

Tuxedo: Diving Bell 2. (2021) is the fifth piece in a series of 10 works after Jean-Michel Basquiat’s artwork Tuxedo, a collection of 16 smaller white-on-black silkscreen pieces originally made on paper. It comprises a matrix of hand-drawn words, symbols, and images including the phrase “Diving Bell 2.” concealed within a complex web of meaning. Similar to Basquiat, I embed codes throughout the work, namely through incorporating extracts from classical European, and Afro diasporic folk songs as descriptors, often related to water; a symbol referenced indirectly throughout Basquiat’s Tuxedo. I have carried the notion of traversing water into my own Tuxedo series, specifically regarding the Transatlantic Slave Trade. However, Tuxedo: Diving Bell 2. also considers the depths of the seas, and especially enslaved African divers, who salvaged shipwrecks for silver, gold and other goods for their owners; reaching deep waters inside cavernous, precarious, diving bell devices.

The harp is strummed and prepared with various objects mostly associated with hair, particularly Afro hair, in extension to Basquiat’s iconic crown motif; combining Afro objects with an instrument that has become keenly associated with the Western classical idiom. A series of dreadlock cuffs and clips restrict the harp’s strings, transforming its sound into something unexpected, unpredictable and changeable. Before the premiere of Tuxedo: Plaid x Plaid, where violin strings are bound together in a similar fashion, I explained to Aaron Grad: “I find it fascinating how we have all these traditional associations with an instrument, but that this tiny piece of malleable metal for Afro hair can take the instrument to a completely new level and change and distort it.”

Tuxedo: Diving Bell 2

A live recording extract from one of the premiere performances with European Union Youth Orchestra and Gianandrea Noseda, at Grafenegg Festival in August 2022. 

Nexus: a complicated series of connections between different things.

This piece was commissioned by EBU to commemorate the 250th anniversary of Beethoven’s birth. More specifically, to encapsulate the symbolic notion of ‘Beethoven’s Mirror’; a living composer reflecting and responding to the historical one.

Beethoven and his music is often connected to and associated with the Napoleonic politics of his day. Yet, there were other concurrent seismic political events in motion that were central to Europe. The Act Prohibiting Importation of Slaves to the United States, which took effect in 1808, the same year in which Beethoven’s iconic Symphony No. 5 was completed and premiered, seems to be particularly poignant.

Nexus interweaves African Diasporic Shouts and Songs: Adam in the Garden; Brown Girl in the Ring; Deep River; Down in the River to Pray; Drive Ol’ Joe; I’ll Be So Glad; Raise a Ruckus; and Wade in the Water, within harmonic, motivic, and gestural characteristics of the first movement of Beethoven’s Symphony No. 5 as an act of highlighting complex historical links that still affect us today.

Nexus [EXTRACT]

The fourth in a series of pieces inspired by Jean-Michel Basquiat's "Tuxedo" artwork for Oboe and Piano. This extract is from the live recording of the UK premiere by Nicholas Daniel and Beatrice Nicholas at Wigmore Hall, London in April 2022.

Tuxedo:(Copper); Ivory Mask [EXTRACT]

Commissioned by the Australian National Academy of Music for Marmen Quartet, who perform here. First performed, as part of ANAM Quartetthaus, Melbourne in May 2023.

Don’t laugh. Just tell me the story / again, / of the sparrows who flew from falling Rome, / their blazed wings. / How ruin nested inside each thimbled throat / & made it sing
                                                      — Ocean Vuong

How ruin nested inside each thimbled throat / & made it sing [EXTRACT]


A piece for solo piano in three movements, the title is taken from the 1763 poem Caissa by Sir William Jones and depicts the three sections of a game of chess (the opening, middlegame and endgame); each taking
inspiration from differenct sources.


On The Chequer'd Field Array'd

Hannah Kendall

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