| Genre | Date | Title | Scoring | Notes |
| Vocal | 1989 | The Lover in Winter | for countertenor and piano | |
| Vocal | 1990 | Five Eliot Landscapes | for soprano and piano | words by T. S. Eliot |
| Vocal | 1990 | Aubade | for soprano solo | words by Philip Larkin |
| Orchestral | 1990 | Chamber Symphony | for chamber ensemble of 15 players | |
| Choral | 1990 | O thou who didst with pitfall and gin | anthem for male voices | words from Rubaiyat of Omar Khayyam translated by Edward FitzGerald |
| Choral | 1990 | Gefriolsae Me | anthem for male voices and organ | words from Psalm 51 |
| Chamber | 1991 | Catch | for clarinet, violin, cello and piano | |
| Choral | 1992 | Fool's Rhymes | for mixed chorus, harp, prepared piano, organ and percussion | words from sermons of John Donne, anonymous Elizabethian and 14th-century poetry |
| Organ | 1992 | Under Hamelin Hill | for organ (1–3 players) | |
| Piano | 1992 | Darknesse Visible | for piano | after John Dowland |
| Chamber | 1992 | Le Diable au Corps | for oboe, bassoon and piano | withdrawn |
| Piano | 1992 | Still Sorrowing | for piano | |
| Vocal | 1993 | Life Story | for soprano, 2 bass clarinets and double bass | words by Tennessee Williams |
| Orchestral | 1993 | Living Toys | for chamber ensemble of 14 players | |
| Orchestral | 1993 | ...but all shall be well | for orchestra | 2nd version for reduced orchestra |
| Chamber | 1993 | Sonata da Caccia | for baroque oboe (or oboe), horn, harpsichord | |
| Chamber | 1994 | Les baricades mistérieuses | for clarinet, bass clarinet, viola, cello and double bass | arrangement of music by François Couperin |
| Vocal | 1994 | Life Story | for soprano and piano | words by Tennessee Williams |
| Orchestral | 1994 | The Origin of the Harp | for chamber ensemble of 10 players | |
| Chamber | 1994 | Arcadiana | for 2 violins, viola and cello | |
| Chamber | 1995 | Cardiac Arrest | for clarinet, bass clarinet, viola, cello, double bass and piano 4-hands | |
| Opera | 1995 | Powder Her Face | for soloists and ensemble of 15 players | libretto by Philip Hensher; in 2 acts and 8 scenes |
| Piano | 1996 | Traced Overhead | for piano | |
| Piano | 1996 | Etude | for piano | withdrawn |
| Orchestral | 1996 | These Premises Are Alarmed | for orchestra | |
| Orchestral | 1997 | Asyla | for orchestra | winner of the 2000 Grawemeyer Award for Music Composition |
| Concertante | 1997 | Concerto Conciso | for piano and 10 players | |
| Choral | 1997 | The Fayrfax Carol | for mixed chorus with optional organ | words by 15th-century anonymous poets |
| Vocal | 1999 | America: A Prophecy | for mezzo-soprano and orchestra with chorus ad libitum | words adapted from Chilam Balam, and La Guerra by Matteo Flexa |
| Choral | 1999 | January Writ | for mixed chorus and organ | |
| Chamber | 2000 | Piano Quintet | for 2 violins, viola, cello and piano | |
| Cello | 2000 | Sola | for cello | [3] |
| Vocal | 2001 | Brahms | for baritone and orchestra | words by Alfred Brendel |
| Opera | 2003 | The Tempest | for soloists, chorus and orchestra | libretto by Meredith Oakes based on the play by William Shakespeare; in 3 acts |
| Orchestral | 2004 | Overture to The Tempest | for orchestra | |
| Vocal | 2004 | Scenes from The Tempest | for Soloists and orchestra | |
| Concertante | 2005 | Violin Concerto | for violin and chamber orchestra | subtitled "Concentric Paths" |
| Chamber | 2005 | Court Studies from The Tempest | for clarinet, violin, cello and piano | |
| Orchestral | 2006 | Three Studies from Couperin | for chamber orchestra | after music by François Couperin |
| Orchestral | 2007 | Tevot | for orchestra | |
| Orchestral | 2007 | Three-Piece Suite from Powder Her Face | for orchestra | orchestral suite no. 1 from the opera Powder Her Face |
| Concertante | 2008 | In Seven Days | for piano and orchestra | with moving image by Tal Rosner |
| Piano | 2009 | Concert Paraphrase on Powder Her Face | for piano | |
| Chamber | 2009 | Lieux Retrouvés | for cello and piano | |
| Piano | 2009 | Three Mazurkas | for piano | |
| Choral | 2009 | Singverein | for chorus and orchestra | withdrawn |
| Chamber | 2010 | The Four Quarters | for 2 violins, viola and cello | |
| Orchestral | 2010 | Polaris | for orchestra | with moving image by Tal Rosner[4][5] |
| Violin | 2011 | Cadenza to the violin concerto by György Ligeti | for solo violin | |
| Chamber | 2011 | Reveilles | for trumpet and piano | |
| Vocal | 2012 | Come unto these yellow sands | for countertenor and piano | Henry Purcell, realised by Thomas Adès for voice and piano |
| Vocal | 2012 | Full Fathom Five | for countertenor and piano | Purcell, realised by Thomas Adès for voice and piano |
| Piano | 2012 | Thrift | for piano | Mazurka-Cortège |
| Vocal | 2013 | Totentanz | for mezzo-soprano, baritone and orchestra | |
| Piano | 2015 | Concert Paraphrase on Powder Her Face | for two pianos | |
| Piano | 2015 | Blanca Variations | for piano | |
| Concertante | 2016 | Lieux retrouvés | for cello and small orchestra | |
| Opera | 2016 | The Exterminating Angel | for soloists, chorus and orchestra | after Luis Buñuel's 1962 film El ángel exterminador |
| Orchestral | 2017 | Luxury Suite from Powder Her Face | for orchestra | orchestral suite no. 2 from the opera Powder Her Face |
| Vocal | 2017 | By Beauteous Softness | for countertenor and piano | Purcell, realised by Thomas Adès for voice and piano |
| Vocal | 2017 | An Evening Hymn | for countertenor and piano | Purcell, realised by Thomas Adès for voice and piano |
| Vocal | 2017 | Four Songs | for countertenor and piano | Purcell, realised by Thomas Adès for voice and piano |
| Piano | 2018 | Souvenir | for piano | solo piano from the film “Colette” |
| Chamber | 2018 | Three Berceuses from The Exterminating Angel | for viola and piano | |
| Piano | 2018 | Berceuse from The Exterminating Angel | for piano | |
| Orchestral | 2018 | Hotel Suite from Powder Her Face | for orchestra | orchestral suite no. 3 from the opera Powder Her Face |
| Film Score | 2018 | Colette | | |
| Concertante | 2018 | Piano Concerto | for piano and orchestra | |
| Orchestral | 2018 | Colette Suite | for chamber orchestra | a suite from the film “Colette” arrangement by Daniel Saleeb |
| Orchestral | 2019 | Inferno | for orchestra | ballet music |
| Orchestral | 2019 | O Albion | for string orchestra | from Arcadiana movement VI |
| Chamber | 2020 | Märchentänze | for violin and piano | |
| Orchestral | 2020 | Purgatorio | for orchestra and pre-recorded voices | ballet music |
| Orchestral | 2020 | Paradiso | for orchestra and female choir | ballet music |
| Ballet | 2020 | Dante | for orchestra with pre-recorded voices and female choir | I. Inferno II. Purgatorio III. Paradiso |
| Orchestral | 2020 | Dawn | for orchestra | Chacony for orchestra at any distance |
| Orchestral | 2020 | Shanty – Over the Sea | for string orchestra | |
| Vocal | 2020 | Gyökér (Root) | for soprano and four percussionists | |
| Orchestral | 2020 | The Exterminating Angel Symphony | for orchestra | four-movement orchestral rendering of music from the opera |
| Concertante | 2021 | Märchentänze | for violin and orchestra | |
| Chamber | 2021 | Four Berceuses from The Exterminating Angel | for clarinet, viola and piano | |
| Chamber | 2021 | Alchymia | for Basset clarinet or clarinet in A, 2 violins, viola and cello | |
| Chamber | 2021 | Tower | fanfare for 14 trumpets | |
| Vocal | 2022 | Növények | for mezzo-soprano and piano sextet | |
| Piano | 2022 | Az ág (The Branch) | for piano | |
| Orchestral | 2022 | Five Spells from The Tempest | for orchestra | based on music from the opera. Renamed from The Tempest Symphony |
| Chamber | 2022 | Suite from The Tempest | for violin and piano | based on music from the opera |
| Concertante | 2022 | Air – Homage to Sibelius | for violin and orchestra | |
| Guitar | 2023 | Forgotten Dances | for guitar | six movements: Overture, Berceuse, Courante, Barcarolle, Carillon de Ville and Vesper. |
| Chamber | 2024 | Wreath | for string quintet | |
| Orchestral | 2024 | Aquifer | for orchestra | |
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