Faia on a new work for Alphorn, MIDI-cowbells and electronics – Mountain Language – from 1997 to 1998. This marked the start of a series of works involving electronics, including Séance (1996), Jodo (1999), Autumn Voices (2001) and the opera, Hildegard (2002–2006). Recent developments and move to Germany From the mid-1990s, Wood also started to receive conducting invitations from several European ensembles, including l’Itinéraire, Ensemble InterContemporain, musikFabrik and Champ d’Action, and choirs including Netherlands Radio Choir, Netherlands Chamber Choir, Swedish Radio Choir, Collegium Vocale Gent, West German Radio Choir, Berlin Radio Choir, RIAS Kammerchor, as well as the Tokyo Philharmonic Choir. In 2002, he worked closely with Karlheinz Stockhausen on the world premiere of Engel-Prozessionen, which he conducted at the Amsterdam Concertgebouw with the Netherlands Radio Choir. In 2011, he conducted the same work as part of Cologne Opera's production of the opera, Sonntag aus Licht. Wood's increasing activity in mainland Europe eventually led, in 2007, to his decision to leave England for Germany. Since then Wood has continued to work regularly with choirs and ensembles throughout Europe, notably the Netherlands Radio Choir, musikFabik, Berlin Radio Choir, RIAS Kammerchor and the MDR Rundfunkchor in Leipzig, as well as remaining prolific as a composer. Notable performances include Luigi Nono’s Caminantes Ayacucho with the Netherlands Radio Choir and Netherlands Radio Chamber Philharmonic Orchestra at the 2008 Holland Festival; his training of the Vienna State Opera Chorus for Nono’s Al gran sole carico d’amore at the 2009 Salzburg Festival, conducted by Ingo Metzmacher; the first ever performance with live pianolist (Rex Lawson) of Theo Verbey’s completion of Stravinsky’s 1919 version Les Noces with musikFabrik and RIAS Kammerchor at the Berlin Philharmonie in 2013; and the German premiere of Wood's own Tongues of Fire (for large chorus and percussion quartet) with the MDR Rundfunkchor in Leipzig in November 2014. From 2008 until 2011, he undertook the reconstruction of the two missing voices of the Sacrae Cantiones Liber Secundus of the sixteenth-century Italian composer, Carlo Gesualdo. This massive undertaking culminated in his recording of the complete set with Vocalconsort Berlin for Harmonia Mundi. Released in February 2013, the recording went on to receive universal critical acclaim, and was awarded the ECHO Klassik Preis in the category ‘Choir Recording of the Year’ in October 2013. Following a joint commission from the Dutch Ensemble, Insomnio, the Stichting De Vrede van Utrecht and the Eduard Van Beinum Stichting,