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'Sullen earth' for violin and string orchestra (2005) grew initially from the idea to divide the string orchestra into three distinct timbral groups through the use (or not) of mutes: the first group does not use mutes, the second uses ordinary mutes and the third uses heavy, practice mutes. This approach allows a more ‘orchestral’ way of writing, giving ten different-sounding instruments in the ensemble rather than simply four.
A further element in the work is the use of scordatura – the tuning of the lowest string of the solo violin and most of the other instruments up a semitone. This creates an unstable tuning for both the instruments and the ensemble in general, and the exploration of this tuning provides the harmonic basis for the work. The solo line uses different kinds of tone production and timbres, and occasionally uses quartertones as an expressive device. Near the end of the work a medieval French tune provides a focal point.
'Sullen earth' is a phrase from a Shakespeare sonnet that captures the mood of the work very well. The piece is dedicated to Gordana Matijević-Nedeljković and the Belgrade Strings, who commissioned the work with funds from the Arts Council of Ireland.