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List of works/upcoming commissions   (* published by Schott)

2019 Atma – clarinet/electronics piece for Mark Simpson, Kings Place, London

2019 – Musae – song cycle for Lucy Schaefer and Huw Watkins, Cheltenham Festival, July.

2018 string trio Völuspå PAW festival, Dorset. Performance at Tanglewood Festival this summer. Vln,vla,vc.

2018 #skincare - Occupy the Pianos festival St John’s Smith Square. Text by @KimKierkegaardashian. Voice, 2 pianos, 2 perc, 

2017 Slap On – CoMA open score commission (more than 15 performances UK/Europe to date)including performance by Hong Kong New Music Ensemble at 2017 Festival de Verano in Oviedo, Spain.). For flexible ensemble with keyboard. Score and parts available here.

2016 Broad St Burlesque  - Birmingham Contemporary Music Group, 25th anniversary concert, recorded for Radio 3. Sound Investor commission. Bass clarinet, cello, cor anglais, piano.

*2014  In the Meanwhile – for 6 female vocalists. Setting of texts by Rabindranath Tagore.

*2014 Karakia - for SATB choir. Setting of traditional Mauri prayer.

Cello pieces include:

*2013 Berceuse

*2012 Stir

*2008 Salat Babilya  

*2005 Shift, Trip (released on Non Classical 2018, US premiere this spring). Amplified cello and soundtrack. Listen here and here

2005 – 2018 – One woman musical cabaret show (her own words and music`) Z Unleashed, Revue Z. Performances worldwide including festivals in Canada, Plush, Iceland, Spain, Denmark, Orkney and Wigmore Hall.

2004 Primrose Piano Quartet Variation Z – Hame recorded for Meridian

1999 – 2012 Performer/composer collaboration with New York City Ballet dancer/choreographer Antonia Franceschi:

Up From the Waste Soho Theatre,

POP8 Lion & Unicorn Theatre London

S with Ballet Black at Linbury Studio ROH

1998 Ghostward Almeida Theatre – performer/composer

1995 Warning to the Curious Eastern Angles Theatre tour – performer/composer

Reviews for Broadstreet Burlesque:

“….Zoe Martlew’s Broad Street Burlesque (not the first evocation of what the composer deliciously describes as “the city’s principal party slag drag” — Thomas Ades had already incorporated it into his Asyla, premiered long ago by the CBSO under Rattle). This was a decidedly fun piece, plinkey-plunkety street sounds framing proceedings, and ending with “Yo’ wha”” scowls; in between came what was actually a touching oboe-led dance…” Birmingham Post

Zoë Martlew evoked the world of cabaret in probably the first ever portrait of that peculiar phenomenon, so proximate to BCMG’s environs, the Birmingham Slag. Laden with bangs and sniffs and sighs and scratches (courtesy of sand blocks; i don’t even want to imagine what those sounds are meant to represent), her Broad St. Burlesque occupied a seemingly post-apocalyptic landscape, dominated by a bass clarinet that seemed to be trying different approaches – some melodic, others less elegant – of making a pass at everyone in the vicinity. When that failed, the ensemble abandoned all attempts at gentility for an entirely percussive epilogue culminating in a surfeit of blown kisses, the last of which was a unison smacker on the lips of the entire audience. Not since Thomas Adès’ Powder Her Face have i heard anything so gleefully tawdry. Fabulous.”    Simon Cummings, 5:4

Schott published pieces are available here at Schott’s online store.