Confetti Dirge

for solo cello (2025) written for Ozgur Kaya

Confetti Dirge is a piece that explores the aftermath of a celebration from a perspective of grief. You want to return to the celebration, to the music, to the euphoria, but you also know you have to leave it behind and let it all turn into memory.

Glitter on the pavement

for ensemble and electronics (2025) commissioned by soundSCAPE

Recently, I have been obsessed with the appearances of aftermaths, particularly of industrial parties, raves, and concerts. The ringing in your ears, the slightly sticky floor, and the remnants of joy from hundreds of people is something truly powerful to me. Moments like these emphasise the effervescence of music and the connection it brings, and I wanted to write a piece that feels like an echo of these moments and the spaces they take place in, with the electronics representing ghostly echoes of the music that was played, where the ensemble’s material represents more the hazy memories and mixed emotions of these events.

Angels on the beach at night

concerto for recorder and orchestra (2024) commissioned by Luca Imperiale and the Horsham Symphony Orchestra

Written for Luca Imperiale and the Horsham Symphony Orchestra, Thomas was approached by Imperiale in June of 2023 to write this piece for the premier two years in the future. After meeting with conductor of the orchestra, Steve Dummer, Thomas began gathering materials and inspiration for what would be his largest undertaking yet.

During a trip to Sydney in August of 2023, Thomas and a friend visited and camped at The Basin in Ku-ring-gai Chase National Park on Darramurra-gal country. Nearing the end of the Australian winter, the campgrounds were all but empty, save for brush turkeys and wallabies. Gazing into the ocean inlet, and at the surrounding cliffs, it was hard to not feel an intense sense of the sublime. The night they camped; Thomas had a very vivid dream, where we begin the first movement...

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