Performance
Event coordination and curation
Compositions
Improvised Lament in D Freygish between Voice and Sitar
Improvisation inspired by fusing the traditional klezmer form of a Doina and Indian classical improvisation performed as part of MMus Final Recital in the Milton Court Concert hall.
Alex Wrey, Sitar
'Radio' live at the Barbican for UKF DnB Concert: OrchestRave
Soloist as a part of the UKF DnB concert collaboration with Guildhall: OrchestRave.
DnB tracks were arranged for full orchestra and played live alongside a DJ.
Ignoring Izzy live at The Old Blue Last
Camcorder footage from Ignoring Izzy headline show at The Old Blue Last, by https://www.instagram.com/gaiazzzurra/
Fantasy
Isadora Pulman on vocals, live manipulation and autoharp.
Trailer for FANTASY, performance and film, Guildhall's Live Electronics Orchestra is joined by dancers from the BECKS dance agency.
Sound emerges from somatic practice, mutual reliance, and real-time negotiation between musicians and dancers. Improvised collective languages reveal how care and support can move across mediums, as dancers and musicians conjure and inhabit shifting sonic landscapes through stage and space.
LusAnÓir
LusAnÓir (hedge mustard), piece for bassoon and live electronics, exploring nature and the elements through the manipulation of the bassoon. Created solely out of samples recorded from the bassoon, the piece represents new repertoire for woodwind.
The piece travels from electronic chaos, the wind on the moors, to choral polyphony where the bassoon becomes a full SATB choir in church on a Sunday.
Performed by bassoonist Maria O'Dea.
Ballet of Hands film and score by Isadora Pulman
Inspired by Parajanov’s The Colour of Pomegranates—particularly its heightened attention to bodily detail and the expressive ballet of hands—this film explores the poetics of gesture through a focused study of the hand. The visual language draws from Parajanov’s use of intensified perspectives, where a hand is never just a hand, but a carrier of symbolism, sensuality, and narrative.
The score weaves together moments of dissonance, anxiety, and unexpected calm, drawing subconscious influence from Bernard Herrmann’s haunting score for Hitchcock’s Marnie. Its unpredictable structure underscores a tension between clarity and confusion, mirroring the film’s visual dichotomy.
Shot on 35mm black and white film, the piece contrasts the quiet delicacy of isolated, static shots with frenetic, layered double exposures. Fingers, knuckles, palms, and forearms become sites of abstraction, intimacy, and estrangement. The interplay between sound and image is designed not to tell a story, but to evoke a tactile and sensory experience—a visual score in its own right.
Oyf Der Stansye Kolomey
Oyf der Stansye Kolomey (at the Kolomey Station), poem by Itzik Manger, a prolific 20th century Yiddish poet and visionary, set to music by Isadora Pulman.
The poem speaks of a Grandmother and Grandfather who wait for their grandson, who they never met on earth, at the gates of heaven. They are worried whether he will recognise them, and whether they brought the right flowers to great him.