catalog
Orchestra
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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
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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
= 15’ (full orchestra)
= 22’ (organ, theremin, sythesizer)
Written for Emma Carina Meinrenken
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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’
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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′
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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, trombonewritten for the Curtis Symphony Orchestra (*Zoom Edition)
ca. 6′
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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′
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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′
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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′
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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
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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’
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Come Cut Me Open (2023)
clarinet in B-flat, violin, ‘cello, piano, electronics
Commissioned by Copland House CULTIVATE Fellowship
ca. 6’
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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’
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greed is good and winning is everything (2021)
baritone, trumpet, trombone, bass clarinet with found objects and silent film
commissioned by loadbang
ca. 22′
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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′
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Superspreader (2020)
two pianos, toy piano, accordion (two players)
commissioned by HOCKET
ca. 1′
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The Negation of Art (2020)
violin and prepared piano with found objects and mutes
ca. 11’30”
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Ineluctable Modality of the Visible (2020)
flute, two oboes, clarinet, horn, violin, double bass, speaker, conductor
commissioned by the Sarasota Music Festival
ca. 12′
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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′
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Vestiges (2019)
string quartet
commissioned by the FLUX Quartet and the 2019 soundSCAPE Festival
ca. 11’30”
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presumably dogs do not reflect upon thinking itself (2019)
3 horns
commissioned by the Fresh Inc. Festival
ca. 10′
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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′
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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
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TBD (upcoming)
percussion
commissioned by Britton-Rene Collins
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truthmongertaletellertroublemakergirl (2023)
solo piano
commissioned by Elena Cholakova
ca. 15’
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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
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Dance Suite (2021)
violin
commissioned by Johnny Gandelsman
ca. 25′
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negating gravity on a molecular level (2021)
violin
written for Nathan Cole’s 2021 Violympics
ca. 5′
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Spooky Action at a Distance (2021)
organ and video
written for Aaron Patterson
ca. 12′
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Soliloquy (2017; revised 2021)
solo trumpet
written for Justin Bernardi
text from Albert Camus’ The Plague, translated by Stuart Gilbert
ca. 6’30”
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Life after death…? (2020)
solo double bass
written for Markus Lang
ca. 12′
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Bodypolitik (2020)
oboe and video
written for Mekhi Gladden
ca. 12′
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Manuscripts Don’t Burn (2019)
piano
commissioned by Inna Faliks
ca. 9′
Choir
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Strange Father! (2023)
for SATB choir a cappella
commissioned by Xavier University and the Cincinnati Symphony in partnership with Luna Lab
ca. 5’
Opera
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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
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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’
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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’
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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’