“silence hangs in misty layers” (2011). for B♭ bass clarinet.

silence hangs in misty layers is a solo, reflective work written during my recovery from serious illness.  Musical material is derived from various spectra, and arranged in semi-biographical format.  That recovery–and it’s unknown outcome–was constantly a difficulty that I struggled with.  The struggle is not depicted; instead a sense of peaceful withdrawal and sense of […]

“spaces : between : time” (2004) for flute(also picc), B♭ clarinet (also bass cl.), violin, cello, piano.

spaces : between : time, completed in December 2004, is a work exploring the juxtaposition of contrasting musical ideas and later the subsequent melding and interplay between those ideas.   The most striking pair of elements used here is comprised of rhythmic ideas, and takes the form of short, percussive, staccato attacks and longer, legato, more […]

“Lumen” (2006). for alto flute (also flute and picc), B♭ clarinet (also bass cl.), violin, cello, percussion, piano.

Lumen is an expansive work (~16″) that required the breaking of some compositional boundaries by which I had felt somewhat previously confined. The result is a work that explores a whole array of musical ideas from two-part counterpoint to dense, virtuosic ensemble work; from solo sections to a rich, vibrant kaleidoscope of color and timbre. […]

“Tenebrae” (2008). for flute, clarinet, violin, cello, piano

Tenebrae was written in fulfillment of a commission from the New York New Music Ensemble. One of the main issues I dealt with in composing Tenebrae was the exploration of methods of transition between various types of timbral/harmonic constructs.  Forward motion and formal narrative relies on gradual transformative processes that change one structural harmony into another. […]

“le parallèle est devenu oblique” (2008). for alto saxophone, piano, and Max/MSP.

le parallèle est devenu oblique was written in the early summer of 2008. The compositional style represents an evolution of my personal language; with focus now shifted more toward timbral considerations (via instrumental techniques and signal processing) and a more macro-level approach toward handling gesture, and ultimately form. I was attracted to the idea of […]

“Jukai” (2009). for alto recorder, harpsichord, and Max/MSP.

The Japanese word Jukai (樹海) refers to a very dense forest region, and is generally used to describe the forest of Aokigahara, at the foot of Mt. Fuji.  The forest of Aokigahara is reputed a center of supernatural activity, unfortunately owing to the unusually high number of suicides that occur there.     This work draws inspiration […]

“Still Life (with Resonance)” (2009). for saxophone quartet.

“Still Life (with Resonance)” (2009). for saxophone quartet. The concept of the ‘still life’ as practiced by graphic artists poses an interesting problem when applied to the dynamic flow of music.  In this work, the musical material consists of quick jolts of energy balanced by periods of slow, cloudlike harmonic formations that act as resonance […]

“through autumn into winter” (2009). for flute, piano and Max/MSP.

…through autumn into winter (for C flute and piano, with electronics).  This work has much in common in terms of technique with my other recent compositions, yet has a particular character that was composed to be evocative of a series of autumn and winter scenes. In the northern United States, dark winters make up a significant […]

“the farthest shore” (2010). for two pianos.

Light glints off of a calm sea…swirling torrents draw the viewer in, down, under the surface.  From Debussy’s La Mer and Ravel’s Jeux d’Eau to Murail’s Le Lac and this work–the dynamic character of water has been a rich source of musical ideas.  This work–theatrically set for two “non-existent” instruments–depicts a voyage across shifting waters.  Light, energy, […]