| Genre
|
Date
|
Title
|
Scoring
|
Notes
|
| Vocal |
1989 |
The Lover in Winter |
for countertenor and piano |
|
| Vocal |
1990 |
Five Eliot Landscapes |
for soprano and piano |
words by T. S. Eliot
|
| Vocal |
1990 |
Aubade |
for soprano solo |
words by Philip Larkin
|
| Orchestral |
1990 |
Chamber Symphony |
for chamber ensemble of 15 players |
|
| Choral |
1990 |
O thou who didst with pitfall and gin |
anthem for male voices |
words from Rubaiyat of Omar Khayyam translated by Edward FitzGerald
|
| Choral |
1990 |
Gefriolsae Me |
anthem for male voices and organ |
words from Psalm 51
|
| Chamber |
1991 |
Catch |
for clarinet, violin, cello and piano |
|
| Choral |
1992 |
Fool's Rhymes |
for mixed chorus, harp, prepared piano, organ and percussion |
words from sermons of John Donne, anonymous Elizabethian and 14th-century poetry
|
| Organ |
1992 |
Under Hamelin Hill |
for organ (1–3 players) |
|
| Piano |
1992 |
Darknesse Visible |
for piano |
after John Dowland
|
| Chamber |
1992 |
Le Diable au Corps |
for oboe, bassoon and piano |
withdrawn
|
| Piano |
1992 |
Still Sorrowing |
for piano |
|
| Vocal |
1993 |
Life Story |
for soprano, 2 bass clarinets and double bass |
words by Tennessee Williams
|
| Orchestral |
1993 |
Living Toys |
for chamber ensemble of 14 players |
|
| Orchestral |
1993 |
...but all shall be well |
for orchestra |
2nd version for reduced orchestra
|
| Chamber |
1993 |
Sonata da Caccia |
for baroque oboe (or oboe), horn, harpsichord |
|
| Chamber |
1994 |
Les baricades mistérieuses |
for clarinet, bass clarinet, viola, cello and double bass |
arrangement of music by François Couperin
|
| Vocal |
1994 |
Life Story |
for soprano and piano |
words by Tennessee Williams
|
| Orchestral |
1994 |
The Origin of the Harp |
for chamber ensemble of 10 players |
|
| Chamber |
1994 |
Arcadiana |
for 2 violins, viola and cello |
|
| Chamber |
1995 |
Cardiac Arrest |
for clarinet, bass clarinet, viola, cello, double bass and piano 4-hands |
|
| Opera |
1995 |
Powder Her Face |
for soloists and ensemble of 15 players |
libretto by Philip Hensher; in 2 acts and 8 scenes
|
| Piano |
1996 |
Traced Overhead |
for piano |
|
| Piano |
1996 |
Etude |
for piano |
withdrawn
|
| Orchestral |
1996 |
These Premises Are Alarmed |
for orchestra |
|
| Orchestral |
1997 |
Asyla |
for orchestra |
winner of the 2000 Grawemeyer Award for Music Composition
|
| Concertante |
1997 |
Concerto Conciso |
for piano and 10 players |
|
| Choral |
1997 |
The Fayrfax Carol |
for mixed chorus with optional organ |
words by 15th-century anonymous poets
|
| Vocal |
1999 |
America: A Prophecy |
for mezzo-soprano and orchestra with chorus ad libitum |
words adapted from Chilam Balam, and La Guerra by Matteo Flexa
|
| Choral |
1999 |
January Writ |
for mixed chorus and organ |
|
| Chamber |
2000 |
Piano Quintet |
for 2 violins, viola, cello and piano |
|
| Cello |
2000 |
Sola |
for cello |
[3]
|
| Vocal |
2001 |
Brahms |
for baritone and orchestra |
words by Alfred Brendel
|
| Opera |
2003 |
The Tempest |
for soloists, chorus and orchestra |
libretto by Meredith Oakes based on the play by William Shakespeare; in 3 acts
|
| Orchestral |
2004 |
Overture to The Tempest |
for orchestra |
|
| Vocal |
2004 |
Scenes from The Tempest |
for Soloists and orchestra |
|
| Concertante |
2005 |
Violin Concerto |
for violin and chamber orchestra |
subtitled "Concentric Paths"
|
| Chamber |
2005 |
Court Studies from The Tempest |
for clarinet, violin, cello and piano |
|
| Orchestral |
2006 |
Three Studies from Couperin |
for chamber orchestra |
after music by François Couperin
|
| Orchestral |
2007 |
Tevot |
for orchestra |
|
| Orchestral |
2007 |
Three-Piece Suite from Powder Her Face |
for orchestra |
orchestral suite no. 1 from the opera Powder Her Face
|
| Concertante |
2008 |
In Seven Days |
for piano and orchestra |
with moving image by Tal Rosner
|
| Piano |
2009 |
Concert Paraphrase on Powder Her Face |
for piano |
|
| Chamber |
2009 |
Lieux Retrouvés |
for cello and piano |
|
| Piano |
2009 |
Three Mazurkas |
for piano |
|
| Choral |
2009 |
Singverein |
for chorus and orchestra |
withdrawn
|
| Chamber |
2010 |
The Four Quarters |
for 2 violins, viola and cello |
|
| Orchestral |
2010 |
Polaris |
for orchestra |
with moving image by Tal Rosner[4][5]
|
| Violin |
2011 |
Cadenza to the violin concerto by György Ligeti |
for solo violin |
|
| Chamber |
2011 |
Reveilles |
for trumpet and piano |
|
| Vocal |
2012 |
Come unto these yellow sands |
for countertenor and piano |
Henry Purcell, realised by Thomas Adès for voice and piano
|
| Vocal |
2012 |
Full Fathom Five |
for countertenor and piano |
Purcell, realised by Thomas Adès for voice and piano
|
| Piano |
2012 |
Thrift |
for piano |
Mazurka-Cortège
|
| Vocal |
2013 |
Totentanz |
for mezzo-soprano, baritone and orchestra |
|
| Piano |
2015 |
Concert Paraphrase on Powder Her Face |
for two pianos |
|
| Piano |
2015 |
Blanca Variations |
for piano |
|
| Concertante |
2016 |
Lieux retrouvés |
for cello and small orchestra |
|
| Opera |
2016 |
The Exterminating Angel |
for soloists, chorus and orchestra |
after Luis Buñuel's 1962 film El ángel exterminador
|
| Orchestral |
2017 |
Luxury Suite from Powder Her Face |
for orchestra |
orchestral suite no. 2 from the opera Powder Her Face
|
| Vocal |
2017 |
By Beauteous Softness |
for countertenor and piano |
Purcell, realised by Thomas Adès for voice and piano
|
| Vocal |
2017 |
An Evening Hymn |
for countertenor and piano |
Purcell, realised by Thomas Adès for voice and piano
|
| Vocal |
2017 |
Four Songs |
for countertenor and piano |
Purcell, realised by Thomas Adès for voice and piano
|
| Piano |
2018 |
Souvenir |
for piano |
solo piano from the film “Colette”
|
| Chamber |
2018 |
Three Berceuses from The Exterminating Angel |
for viola and piano |
|
| Piano |
2018 |
Berceuse from The Exterminating Angel |
for piano |
|
| Orchestral |
2018 |
Hotel Suite from Powder Her Face |
for orchestra |
orchestral suite no. 3 from the opera Powder Her Face
|
| Film Score |
2018 |
Colette |
|
|
| Concertante |
2018 |
Piano Concerto |
for piano and orchestra |
|
| Orchestral |
2018 |
Colette Suite |
for chamber orchestra |
a suite from the film “Colette” arrangement by Daniel Saleeb
|
| Orchestral |
2019 |
Inferno |
for orchestra |
ballet music
|
| Orchestral |
2019 |
O Albion |
for string orchestra |
from Arcadiana movement VI
|
| Chamber |
2020 |
Märchentänze |
for violin and piano |
|
| Orchestral |
2020 |
Purgatorio |
for orchestra and pre-recorded voices |
ballet music
|
| Orchestral |
2020 |
Paradiso |
for orchestra and female choir |
ballet music
|
| Ballet |
2020 |
Dante |
for orchestra with pre-recorded voices and female choir |
I. Inferno II. Purgatorio III. Paradiso
|
| Orchestral |
2020 |
Dawn |
for orchestra |
Chacony for orchestra at any distance
|
| Orchestral |
2020 |
Shanty – Over the Sea |
for string orchestra |
|
| Vocal |
2020 |
Gyökér (Root) |
for soprano and four percussionists |
|
| Orchestral |
2020 |
The Exterminating Angel Symphony |
for orchestra |
four-movement orchestral rendering of music from the opera
|
| Concertante |
2021 |
Märchentänze |
for violin and orchestra |
|
| Chamber |
2021 |
Four Berceuses from The Exterminating Angel |
for clarinet, viola and piano |
|
| Chamber |
2021 |
Alchymia |
for Basset clarinet or clarinet in A, 2 violins, viola and cello |
|
| Chamber |
2021 |
Tower |
fanfare for 14 trumpets |
|
| Vocal |
2022 |
Növények |
for mezzo-soprano and piano sextet |
|
| Piano |
2022 |
Az ág (The Branch) |
for piano |
|
| Orchestral |
2022 |
Five Spells from The Tempest |
for orchestra |
based on music from the opera. Renamed from The Tempest Symphony
|
| Chamber |
2022 |
Suite from The Tempest |
for violin and piano |
based on music from the opera
|
| Concertante |
2022 |
Air – Homage to Sibelius |
for violin and orchestra |
|
| Guitar |
2023 |
Forgotten Dances |
for guitar |
six movements: Overture, Berceuse, Courante, Barcarolle, Carillon de Ville and Vesper.
|
| Chamber |
2024 |
Wreath |
for string quintet |
|
| Orchestral |
2024 |
Aquifer |
for orchestra |
|
