Selected works

Mixed Synthetic Fabrics

2018, for piano and computer, 7'54"
Recorded at Music Current Festival, Smock Alley Theatre, Dublin, 14 April 2017, Xenia Pestova, piano; Fergal Dowling, computer.



2016, five-movements for Baroque chamber ensemble, interactive electronics, surround sound and video, c. 50'00"
Recorded, Smock Alley Theatre, Dublin, 8 April 2016.


Ground and Background

2017, for surround sound and four video screens, 10'00"
Premiered at Music Current 2017 Festival, Smock Alley Theatre, Dublin, 29 April 2017.

Ground and Background was composed for Perisonic, a themed concert in which three composers reimagined the Dublin cityscape as an immersive audio-visual experience for surround sound and four video projections in three movements. The urban environment is reconsidered through the metaphor of a journey, wherein the listener is jolted through a fragmented streetscape reconstructed with audio and video jump cuts.



2014, for piano and computer, 13'
Recorded, AIC 'Directions' concert series, Lutheran Hall, Dublin, 19 May 2016, David Bremner, piano; Fergal Dowling, computer.

Stops VIII is part of a series of compositions for instrumentalist and computer, which aim to partially rebalance the roles of performer and composer between the instrumentalist and the computer operator. The composition takes the form of a computer-based strategy which the player explores by ‘sounding out’ the relationship. Details of the sounded performance are automatically recognized and recorded by the computer; as the performance continues, more sound-events are detected and recorded, and subsequent events trigger playback of previously recorded cues. Thus the performer can control the rate and detail of the unfolding of the route through the musical material. In effect, the final sounded material is not fully determined, but is a space expressing the relationship between the performer and the computer, which is navigated during performance time.



2012, for organ, computer and surround sound, 10'02"
Recorded at ReSounding Dublin, St Werburgh's Church, Dublin, 21 November 2012. Michael Quinn, organ; Fergal Dowling, computer

The musical material of Ground is derived entirely from environmental audio samples recorded along the route that was once marked by Dublin's medieval city walls. The typical soundscape in this area is now often crowded with the sound of car and truck engines. These spaces are now continuously energised by persistent, broadband sound.


Three Reconstructions

2014, for five instruments and computer, c. 15'
Recorded at Tiger Dublin Fringe, Temple Bar Gallery & Studios, Dublin, 18 September 2014.

Three Reconstructions was specially written for Dublin Sound Lab’s Responses programme in the Atrium Space at Temple Bar Galley and Studio, as part of Tiger Dublin Fringe Festival 2012. In this specially devised programme four Dublin composers (Piaras Hoban, Gráinne Mulvey, Fergal Dowling and Rob Canning) collaborated to create a common response to Peter Ablinger's 3 Places Dublin in a performance for five wind musicians, interactive electronics and mobile audience distributed throughout the four levels of the Temple Bar Gallery & Studios Atrium space.



2011, for voice, viola, harpsichord, computer, 10'54"
Recorded, Centre Culturel Irlandais, Paris, 12 April 2011; Garth Knox, viola; Bryan Quinn, voice; Michael Quinn, harpsichord; Fergal Dowling, computer

Sketch is part of a series of compositions for instrumentalist(s) and computer which reply entriely on real-time sample of the live perofmance to generate the computer part. During perofmance time, 'sound events' created by the instrumentalists are automatically recorded by the computer. As more sound events are detected and recorded, subsequent performance details are used to trigger polyphonic replay of the previously recorded cues.


Stops II

2008, for violin, double bass, organ, computer, 6'25"
Recorded, St Teresa's Church, Dublin, 21 November 2008, Michael Quinn (organ), Fergal Dowling (computer), Marja Gaynor (violin), Mercedes Carroll (double bass).

Stops II was conceived to make special use of the MIDI-enabled pipe organ in St Teresa's Church, Dublin. The organ's MIDI interface enables two-way communication between the organ desk and the computer and allows for the organ to be played, and registration changes to be executed, remotely by computer. It is also possible for the organ to send performance data to the computer. During performance time the Stops II computer application captures accurately timed performance details at the organ manuals and pedal board. These details are used to trigger and replay the on-going performance and other instrumentalists.