For String Quartet
Recorded live: 27-7-2013 Accademia Chigiana, Siena.
Performed by Quartetto Prometeo

Notturno Autostradale (2013)

First single from our 2nd album, 'Laid Bare: Love Songs', released 2 June 2014. 

Heal You by Anna Meredith

"If number existed before music, perhaps before anything, then mathematical concepts are eternal, and music that comes from numbers is somehow connected with the infinite." - Tom Johnson

Arcs is a translation of a number row into music. The original row influences everything in the piece, from harmony and rhythm to form and instrumentation. Each movement becomes a crystal-like formation; an object that the audience is invited to appreciate the details of.

Movements I and IV were performed by the Fidelio Trio on July 6th, 2014 as part of the Cheltenham Festival Composer Academy.

Arcs (movements I and IV) - Fidelio Trio

BBC Commission, First Night Of The Proms 2015, BBC Symphony Orchestra conducted by Sakari Oramo. World Premiere: July 17th 2015
I encountered Max Ernst's Dadaville (1924) at Tate Liverpool by chance and was immediately intrigued; it looked like a painting but is actually a sculpture of a seemingly impenetrable iron wall that is in fact made of a cork so fragile that it is kept behind glass for fear it might crumble if touched. Above the ‘wall’, we observe what may be blue sky and white clouds. The sculpture is rich in ambiguity.
Dadaville lasts about seven minutes and is scored for an orchestra that includes extensive percussion and a baritone saxophone. It begins with a muted violin melody that in various incarnations permeates the entire piece. An energetic section follows based around the notes D and A; notes which stubbornly pop up throughout irrespective of context and environment (and where else might the notes D and A live other than Dadaville?). A gritty, aggressive segment gravitating around D flat and A flat (D and A at Baroque pitch?) ensues. A genial woodwind/celesta bridge leads to a dreamlike statement of the opening melody (solo violin/cello then flute/horn) that in turn introduces the tuba’s infinitely variable 9-bar ground-bass-like figure (or groove if you prefer) which passes from instrument to instrument to the end of the piece (under the bonnet, the number 9 and its multiples have structural and symbolic significance –Dadaville [9 letters] is 180 bars long, for example). Whilst writing Dadaville, I often pondered what else (another D and A?) might live behind this iron-cork wall. The penultimate bar fleetingly hints...
Full and Study Score available from Cadenza Music from whom performance materials can be hired.  https://cadenza-music.com/index.php

Dadaville

Performed at The Laughing Bell on 26.02.2016 by the Matthew Strover and Ruben Zilberstein.

Listening Piece 1215

Commissioned by Ensemble 10/10 and 1st performed by them in 2004. This is a recording of the first performance

Distanza

Distanza 'live'

LiquidStrange - Paper sketch, pt.1.

Piece written within the framework of [‘tactus] Young Composers' Forum
Ensemble Musiques Nouvelles
Cond. Jean-Paul Dessy

Lambent Fires (revised version for 9 players)

Greedy Cummings, Leith

Automaton for Harpsichord and Chamber Ensemble (2019) - Excerpt (Opening)

Commissioned by Britten Sinfonia.

Live recording. Performance given by Britten Sinfonia and Mahan Esfahani cond. Laurence Osborn at Wigmore Hall, 2nd October 2019

Greedy Cummings, Leith

Clarice Rarity

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