large ensemble

Reveal: 8’30 (2016) for orchestra [2(2=pic.).2.2(2=BCl.).2—4.2.3.1—timp.perc(2).hp.—strings]. Written to accompany a scene from Rupert Julian’s  Phantom of the Opera (1925) for the Occasional Symphony

Essay for Strings: 5′ (2016) for string orchestra

As if it were now: c.12′ (2015-16) for orchestra (commissioned by the Western Connecticut Youth Orchestra) [2.2.3.2—4.2.3.1—timp.perc(2)—strings]

Dis(En)close: 12′ (2015) for concert band  [Score, revised 1Feb2016]

Pillars, erased: 9’30 (2014) for orchestra [2.picc.2.corA.2.bcl.2.cbn—4.3.3.1—timp—perc(2)—hp—pft—strings]

Solus: 4′ (2012) a credulously solemn piece for orchestra

 

instrumental chamber music

Moment(s): Various/Concerted: 12-15′ (2016) written for the Omnibus Ensemble. For ten players: alto and soprano nay (or similar wooden flute), oboe, percussion, chang (santur), tanbur, 2 violins, viola, cello, bass.

Trumpet and Piano: c.5′ (2016) duet for trumpet and piano (adapted from ‘Trumpet and Percussion’)

Trumpet and Percussion: c.5′ (2016) duet for trumpet and percussion (vibraphone, triangle, two cowbells)

Most poems go unread: 6′ (2016) for septet [fl.cl.—perc.pf.—vn.vla.vc]

Fanfare (‘Spectral Fanfare’): c.1’45” (2016) for brass quintet

Portrait F: 6-7′ (2015) for prepared B-flat trumpet and muted horn (adapted from two-trumpet version)

Stanza: I. an echo, II. beneath, III. sudden, IV. quiet –  3′ (2015) for string trio (written for members of the Beo String Quartet at the Charlotte New Music Festival)

Portrait: 6-7′ (2015) for two B-flat trumpets (with one melodica and one cup mute)

Organum: 9-10′ (2013) for two alto saxophones

Rise (Music for Dancing on Blume’s ‘The Rock’): 4’30” (2013) for tuba-euphonium quartet

Edification: 5′ (2012) for string quartet

Fanfare: 1’30” (2010) for two trumpets

minimalist music: 3′ (2010) a fun, frivolous work for saxophone quartet

 

chamber music with voice

Anu: 5′ (2015) for soprano, alto saxophone, guitar, cello

Artifact: 6′ (2013) for soprano, alto recorder, guitar, violin, and 7-string bass viola da gamba

Semantics is for Poets: 6-8′ (2012) for baritone voice, clarinet/bass clarinet, trumpet, trombone (loadbang ensemble)

 

solo instruments

and passes, leaving behind – for solo percussionist (two triangles, quiet unpitched metal, bell tree, 4-5 crotales strung together like a bell tree): 4-5′ (2015) written for Nate Gworek

Repeat, Descend, Recede – for solo cello (or double bass tuned in fifths): 6′ (2015, ed. 2016) [score]

…washed out to sea – for solo double bass: 6’30 (2015)

A Window Opens, for solo violin: 5-10′ (2014)

Nocturne for solo piano: 10′ (2013)

Étude for solo double bass: 2′ (2013)

Villanelle for solo double bass: 6′ (2011)

 

choral

Come Again: 3’30” (2012, revised 2015) arranged from the John Dowland lute song, mixed choir a cappella

Odi et Amo: 6′ (2010, revised 2011) mixed choir a cappella

 

songs

Yeats Songs, for soprano and piano [text by William Butler Yeats]: ca.21′ (to be performed separately or as a set in the following order):

When You Are Old: 6’00 (2011, revised 2015)

Before the World Was Made: 3’15 (2015)

Death of the Hare: 2’45 (2015)

Old Memory: 2’45 (2012, revised 2015)

Against Unworthy Praise: 3’30 (2015)

Memory: 2’45 (2015)

 

stage

Randall’s Leaf — chamber opera in one act: 38′ (2013) for baritone, tenor, mezzo-soprano, soprano, and oboe, clarinet, horn, piano, violin, viola, cello

 

in progress:

Multi-movement work for string orchestra

“Artifact II” – a re-orchestration of “Artifact” for soprano, alto saxophone, guitar, and cello

Études, nos. 2 and 3 for solo double bass