large ensemble

Reveal: 8’30 (2016) for orchestra [2(2=pic.).2.2(2=BCl.).2——timp.perc(2).hp.—strings]. Written to accompany a scene from Rupert Julian’s  Phantom of the Opera (1925) for the Occasional SymphonyPerformed by the Occasional Symphony. Revised version for reduced instrumentation read by the Atlantic Music Festival Orchestra.

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) [——timp.perc(2)—strings]

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

Pillars, erased: 9’30 (2014) for orchestra [——timp—perc(2)—hp—pft—strings]

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

instrumental chamber music

Abridged: c.7′ (2018) written for the Atlantic Music Festival Contemporary Ensemble

At that point (again): c.5’30” (2017) written for Nebula Ensemble. Quartet for tenor saxophone, B-flat trumpet, viola, and cello. 

Storied: c.10′ (2017) written for the Baltimore Classical Guitar Society (BCGS)Duet for 2 guitars (in scordatura). 

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 [——]

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 [video / audio] – 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)


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


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)



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


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