I began composing modern classical music whilst at school and studied composition throughout my undergraduate degree. Over the years I have composed music for a variety of ensembles including clarinet and 9-piece percussion ensemble, a poem setting for chamber trio and voice, a piece for solo trombone and electronics, solo piano, and also for choirs. Scroll down to listen to some samples and view some of my scores. I have also arranged music for various projects which you can read about on my Arrangement & Transcription page.
Crick, Crack, Crocodile – 2013
In 2013, I composed a piece titled Crick, Crack, Crocodile for a text-setting assignment during the final year of my undergraduate degree at the University of Manchester. After searching online, I found a children’s poem of the same name, written by local poet Joan Poulson, and set it to music for soprano, flute, viola and cello. Following a call for scores, the piece was selected by Vaganza, the University of Manchester’s New Music Ensemble, to be premiered in a public concert which the poet herself attended. The recording from the concert is below:
Crick, Crack, Crocodile – Words by Joan Poulson, Music by David Huntriss.
Soprano – Rachel Maby, Flute – Erin Smith, Viola – Michael Lumb, ‘Cello – Tom Goff, Conductor – Leo Geyer.
Shant…(er) – 2014
Whilst studying for my Masters in Music at the University of Salford, I composed a piece entitled ‘Shant…(er)’ for solo piano in which I aimed to experiment with the psychological effects the written musical score has on the performer and explore the degree of interpretation necessary to perform complex music of this kind. I attempted to do this by using a range of modern music notation, extreme dynamics, unattainable keyboard effects, overly-specific articulation, irrational and frequent changes of tempo, and suggestive expression markings. To carry out the experiment, I asked two friends to record the piece for me but gave them no information as to how it should be performed and only a minute to look over the piece before playing it. This resulted in two very different interpretations and recordings of the piece…
You can listen to a (terrible mobile phone audio) recording below of pianist Xenia Petrova performing the piece in a composition workshop and at the University and follow the score to see how she chooses to interpret it.