catalog

Orchestra

  • in the valley of the shadow (2024)

    full orchestra

    2(II = picc).2.2(I= E-flat II = B.Cl).2. — 4.2.2.1.0 — timp.perc(2). — hp.celeste — video — strings (12.10.8.8.5.)

    Written for the UC Davis Symphony Orchestra and Christian Baldini

  • Violin Concerto (2023/4)

    solo violin, cyborg chorus, and orchestra

    2(I=fl & picc II=fl & picc).2.2.2. — 4.3.2.0. — timp.perc(3) — hp.pno.synth.theremin — solo violin — radios — strings

    1. = 15’ (full orchestra)

    2. = 22’ (organ, theremin, sythesizer)

    Written for Emma Carina Meinrenken

  • bruises; yellow, green, & purple (2023)

    spirio | r player piano, video, and orchestra

    2.2.2.2 — 2.2.1.0 — timp.perc(3) — solo spirio player pno — video — 6.6.5.6.4

    written for the Curtis Symphony Orchestra and Dr. Katelyn Bouska

    ca. 15’

  • Cover Song (2022)

    orchestra and electronics

    2(I=fl & picc II=fl &offstage).2.2(II=cl & bcl & offstage).2 – 4.3.2.1 – timp.perc(2):2chimes/susp.cym/mar/whistle/flex/log/BD/SD/flower pots/wd blocks/offstage susp.cym – hp – live triggered electronics – 8 kalimbas (5 tuned to distinct pitch sets, 3 microtonal; included in purchase of parts set) – 5 (stands).5.4.4.3

    written for the Curtis Symphony Orchestra

    ca. 14′

  • of recorded time (2021)

    asynchronous chamber orchestra of 18 musicians

    8 Players, divided into 7 groups:
    1 : violin 1 , oboe, trumpet
    2: violin 2, flute, double bass 1
    3: viola 2, bassoon
    4: violin 4, ‘cello 1 , horn
    5: viola 1 , ‘cello 2
    6: violin 3, double bass 2,
    7: viola 2, bass clarinet, trombone

    written for the Curtis Symphony Orchestra (*Zoom Edition)

    ca. 6′

  • Golem gives itself a Name (2020)

    full orchestra

    3(III=fl & picc).3.3(III=bcl).3(III=cbsn) – 4.3.2.1 – timp.perc(2):susp.cym/BD/tam-t/xyl/siren/SD/vib – pno(prep.) – live projection – stgs div: 6(stands in 3 grps; A=2, B=2, C=2).5(A=2, B=2, C=1).4(A=2, B=1, C=1).4(A=2, B=1, C=1).3(A=1, B=1, C=1)

    written for the Curtis Symphony Orchestra

    ca. 9′

  • change is the only constant (2019)

    chamber orchestra

    2.2.2(II=bcl).2 – 2.1.1 – timp.perc(4):vib.flex/sound hose.SD.flex/slinky.SD/singing glass.gro.tam-t – 5(players).4.3.3.2

    written for the 2019 Cabrillo Festival of Contemporary Music Composers Workshop

    ca. 8′

  • wherever you go, there you are (2018)

    chamber orchestra

    2.2.1.2 – 2.1.0.0 – perc: susp.thundersheet&superballs/tam-t/gro/bow.crot/susp.cym – offstage: stg. quartet, 2 in-hall vlns – 3(players).3.3.3.2

    commissioned by the Saint Paul Chamber Orchestra

    ca. 9′

  • The Toy Box at the End of the Scalpel (2018)

    full orchestra

    2(II=picc).2.2.2 – 2.2.1.1 – timp.perc(2): susp.cym/hand cym./BD/rain stick/whistle(2)/tam-t/gro/wood block/crot./gong/xyl./mar./ratchet – stgs.

    written for Utah Youth Orchestras and Ensembles

    ca. 13′

Chamber Ensemble

  • Dead Reckoning (2023)

    violin, viola, cello, oboe, percussion: vibraphone, tam-tam, cymbals (S, M, L), bass drum, narrator

    written for the Baltic Sea Festival Science Lab with Sriharsha Vishnu Bhat, directed by Elisabet Ljungar

    ca. 10’

  • Come Cut Me Open (2023)

    clarinet in B-flat, violin, ‘cello, piano, electronics

    Commissioned by Copland House CULTIVATE Fellowship

    ca. 6’

  • You May Resume Breathing (2022)

    mezzo-soprano, electronics, modular synthesizer, oboe, bass clarinet, double bass, percussions

    scene from Patience

    Written for the Curtis Institute of Music

    ca. 12’

  • greed is good and winning is everything (2021)

    baritone, trumpet, trombone, bass clarinet with found objects and silent film

    commissioned by loadbang

    ca. 22′

  • cognitive dissonance, or, the inevitability of downfall does not necessarily negate its shock (2020)

    any number of performers

    commissioned for Musical Mentor’s Collaborative’s Requiem-20

    ca. 3′

  • Superspreader (2020)

    two pianos, toy piano, accordion (two players)

    commissioned by HOCKET

    ca. 1′

  • The Negation of Art (2020)

    violin and prepared piano with found objects and mutes

    ca. 11’30”

  • Ineluctable Modality of the Visible (2020)

    flute, two oboes, clarinet, horn, violin, double bass, speaker, conductor

    commissioned by the Sarasota Music Festival

    ca. 12′

  • when Icarus fell, was there a splash? Part I (2019-)

    soprano, flute, oboe, horn, trumpet, violin, cello, piano, electronics, conductor

    commissioned by Zeitgeist, premiered at the Curtis Institute

    ca. 22′

  • Vestiges (2019)

    string quartet

    commissioned by the FLUX Quartet and the 2019 soundSCAPE Festival

    ca. 11’30”

  • presumably dogs do not reflect upon thinking itself (2019)

    3 horns

    commissioned by the Fresh Inc. Festival

    ca. 10′

  • Dramatis Personae (2019)

    flute, oboe, trombone, 2 pianists (1 inside, 1 keyboard), 2 violins, 2 violas, ‘cello

    written for YoungArts Los Angeles 2019

    ca. 6′

  • all that is solid (a study in entropy) (2018)

    piano, violin, viola, oboe, horn, tap dancer

    written for members of the Boston University Tanglewood Institute, Class of 2018

    ca. 8′

Solo

  • TBD (upcoming)

    percussion

    commissioned by Britton-Rene Collins

  • truthmongertaletellertroublemakergirl (2023)

    solo piano

    commissioned by Elena Cholakova

    ca. 15’

  • White Coat Syndrome (2024)

    drum kit (high-hat, bass drum, cymbals, tom drum) — bowed handheld cymbal, metal bowl, duct tape, scissors, syringes — 2 “curtains” made of RX bottles filled with tictacs hung with twine and knitting rings from a 2 gooseneck stands

    written for Diego Alfonso

  • Dance Suite (2021)

    violin

    commissioned by Johnny Gandelsman

    ca. 25′

  • negating gravity on a molecular level (2021)

    violin

    written for Nathan Cole’s 2021 Violympics

    ca. 5′

  • Spooky Action at a Distance (2021)

    organ and video

    written for Aaron Patterson

    ca. 12′

  • Soliloquy (2017; revised 2021)

    solo trumpet

    written for Justin Bernardi

    text from Albert Camus’ The Plague, translated by Stuart Gilbert

    ca. 6’30”

  • Life after death…? (2020)

    solo double bass

    written for Markus Lang

    ca. 12′

  • Bodypolitik (2020)

    oboe and video

    written for Mekhi Gladden

    ca. 12′

  • Manuscripts Don’t Burn (2019)

    piano

    commissioned by Inna Faliks

    ca. 9′

Choir

  • Strange Father! (2023)

    for SATB choir a cappella

    commissioned by Xavier University and the Cincinnati Symphony in partnership with Luna Lab

    ca. 5’

Opera

  • Patience (in-progress)

    leading role written with Christina Herresthal

    for oboe, bass clarinet, double bass, modular synthesizer, electronics, video, electronic and amplified instruments

Interdisciplinary/Improvised

  • zugswang a) (2021)

    electroacoustic metainstrument & 3 performers

    Onstage:

    • 2 Clevertouch screens

    • 2 iPhone/iOS devices with Switcher Studio app installed

    • 4 FM/AM dial radios with antennae

    • 1 grand piano designed for extended techniques in the interior

    • 3 laptop computers or iPads with Zoom installed and front-facing webcams

    • 1 mp3 prerecorded audio file downloaded to 1 device

    • 1 portable bluetooth speaker connected to device with prerecorded audio file

    • 1 letter

    • 2 felt mutes

    • 1 small, flexible, handheld tripod

    Offstage:

    • 2 computers with QLab + Apple USB-C/Thunderbolt/Mini Displayport to HDMI adapter + 2 HDMI cables

    • 1 iOS device with Switcher Studio software + Apple Lightening to HDMI adapter + 1 HDMI cable

    • 36 prerecorded video files

    • 1 Blackmagic Design ATEM Production Studio 4K (with 4 HDMI inputs and 2 SDI outputs—Program and Auxiliary) + 2 SDI cables + two Blackmagic Design SDI to HDMI converters + 2 HDMI cables

    • 1 computer with ATEM Software Control + 1 ethernet cable + 1 USB Type B to Type A cable

    ca. 30’

  • zugswang b) (2021)

    electroacoustic metainstrument & 2 performers

    • 1 laptop with PowerPoint prepared with slides

    • 1 bluetooth speaker

    • 1 audio file

    • 1 microphone

    • 1 tripod

    • 1 iOS device with video camera

    • 2 Clevertouch screens or equivalent projection with bluetooth livestreaming capacity

    ca. 8’

  • Electronic Dance Music for "A Public Intimate Space" (2022)

    pre-recorded sound installation

    commissioned by the Barnes Foundation and the Curtis Institute of Music for John E. Dowell and Zane Booker’s “A Public Intimate Space”

    ca. 75’