Playlists Album Cover Stretch.jpg

for flute and electronics, 5' 30"

Premiered by Antonina Styczen at the Boston Conservatory, on 16th November, 2019. This piece is part of the album Playlists.

Playlists was recorded, mixed and mastered by Maurice Soque Jr., and released on 15th July, 2020.



Originally titled “The Lone Wolf Stalks”, Sculptures is an re-write of this piece for amplified flute and electronics - with an updated sound world to fit in my album, Playlists. The piece makes use of several different synthesised sounds, including several made on the modelling synth, Sculpture. Also used are pre-recorded samples performed by Kathryn Downs, a student I worked with while at the Boston Conservatory. The solo flute often blends with the texture, always wanting to stand at the forefront. It rarely does, until at the end of the piece. I wanted to write a piece where the soloist was part of the electronics. Rather than writing complex riffs that show the performer’s skill, and the capabilities of the instrument, I use the performer as a visual invitation into the piece, giving the audience a perspective, and a viewpoint from which to listen to this piece.

for score, parts and backing track, contact the composer.

About the album Playlists

Playlists sets to incorporate my electronic influences within my contemporary classical practices. The aim was to contextualize instruments traditionally found in the classical music world, within the realm of the modern listener by utilising relatable sounds heard in modern music.

At the same time, the album was constructed on almost with a sense of irony - the idea of streaming playlists and their effect on the structure and length of modern songs was very interesting to me. To catch more listeners and highly competitive playlists, songs tend to start right with the hook, within the first 30 seconds of music. I played around with this idea by adding hooks within this timeframe, or extended the hook right after the 30 second limit (which is what you need to reach for monetization), and just not using a hook at all. Understanding this is not important to understand the music in this album, but is more of a fun inside joke. 

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