Beyond film and media commissions, Brian’s latest projects are all to do with a type of experimental fusion that marries together the technological and commercial concerns and techniques of film and electronica with those of more avant-garde and classical music. The idea of bringing together all these things, which are normally kept apart, is to try and create something really new and fresh.
Most recently with Susan Milan on flute and Brian on iPad, the Dreams and Memoryscapes for Flute, iPad and Birds received its premiere in Philadelphia, the Sonata for Clarinet, Laptop and Percussion was premiered with Mark Van de Wiel on Clarinet at the Conference on Innovation in Music Production and Composition in Leeds, and Sonic Archaeologies received its world premiere with Mary-Karen Clardy at the Centre for Experimental Music at the University of North Texas, Dallas, and its European premiere in Dublin as part of the Composition in the 21st Century Festival.
Previously, Hugh Webb, Principal Harp of the Philharmonia, jazz harpist, avant-garde and film music specialist premiered the Concerto for the Sound of a Harp & Other Sounds. Zoë Martlew, a cabaret artiste and no-holds-barred improvising cellist, who is equally at home at the cutting edge of the classical, avant-garde, rock, pop, punk, jazz, dance, theatre, live electronics and video premiered Brian’s Sonata for Cello and Mixing Desk at LSO St Luke’s in London.
Brian is also interested in composing for music education and especially using technology and recently completed an adaptation of the Cunning Little Vixen for Glyndbourne Opera House in the UK especially aimed at a wide range of young people from different backgrounds. He is also interested in music for health and medical applications and benefits and has recently been working on music that uses interactive screens for palliative care and on music for memory and hypnotherapy.