I use my con­sid­er­able skill as a com­pos­er to write music that is rig­or­ous­ly and prop­er­ly cute. Like a par­fumi­er, I mix affects, micro­tones, and oth­er refined tinc­tures to pro­duce classy air. In my cute music, imper­fec­tion is relieved of neg­a­tive impli­ca­tion, con­flict wheels paths through a sur­pass­ing accep­tance, and earnest­ness repels doubt like rain. Brav­ery and naïveté pow­er an intre­pid­ness that we fear­ful, trag­i­cal­ly well-informed souls can only admire from a distance.

To cap­ture the ter­ri­fy­ing lone­li­ness of our exis­tence in the cos­mos, I often build soft­ware to dream up sprawl­ing fields of pos­si­ble music. Through these vast spaces, my pieces tod­dle in search of some­where to make a home. My hope is that they might light the way for us to do the same.

Matthew Chamberlain at Royaumont Abbey, August 2017

Photo by Shiuan Chang

Finished Pieces

Score sam­ples and media are avail­able on each piece’s page. Full scores and parts can be pur­chased direct­ly from the composer.

Science Fiction Music

For Sinfonietta
Beethoven bob­ble­heads, sneaky dances, and oth­er, def­i­nite­ly mean­ing­ful, disasters.

Com­mis­sioned by Tim Weiss for the Ober­lin Sin­foni­et­ta. Pre­miered March 2018.


  • solo flute
Stub­born­ly remain­ing some­where between fight and flight. Always mov­ing towards exhaustion.

For Michael Mat­suno.
Pre­miered Sep­tem­ber 2017 at Arts @ 29 Gar­den.

In Ignorance

For ensemble and noise machine
A strug­gle to inflate a few chords; a pianist fail­ing to dance; an absence that isn’t a vacuum.

For Jean-Philippe Wurtz and Ensem­ble Lin­ea, with sup­port from the Robert and Car­ol Mor­ris Cen­ter for 21st Cen­tu­ry Music. Pre­miered April 2016 by Ensem­ble LIN­EA with Jean-Philippe Wurtz, con­duc­tor.

Little Monument

  • oboe
  • and cello
A very real­is­tic piece, inas­much as it often, but not always, fails.

Com­mis­sioned by Duo Parvenue.