- Chamber (2-4 musicians) -
Mysterium (2019) for string quartet, commissioned by the Aeolus Quartet (15’45”)
The Ground Beneath Her Feet (2017) for string quartet, commissioned for the Australian String Quartet for the 2017 NextNOW Fest! (11’00”)
I. “These beaches that cut your feet... high banked and rock filled. Empty.”
II. “as numerous as the stars & tangled in the seaweed...”
III. “The cold night...”
IV. “The wind carried whispers... up the mountains...”
V. “Where she walked... the ground broke and the river swelled... trees grew closer to block out the sun...”
VI. “its beauty... beginning to fade with distance...”
From the Apricot Tree (2016) for oboe & viola, commissioned by Mark Hill and Katherine Murdock (10’40”)
Parhelion (2015) for alto sax & percussion, for the UMD 72-Hour Challenge (2’55”)
Two Ghost Stations (adapted 2015 from Ghost Stations) for flute & piano (9’20”)
I. Inside the Mezzanine
II. Yellow Station
Murmurations (2013) for piano trio, commissioned by the Ritter Trio (10’55”)
Ghost Stations (2013) for flute & piano, for Douglas DeVries (15’05”)
I. Inside the Mezzanine
II. Abkhazia
III. The Hidden Underground
IV. Yellow Station
i said to my soul (2013) for string quartet, for the Kronos Quartet (19’00”)
I. Still & Still Moving
II. Wrinkles & Slides
III. In the Electric Heat – Hypnotized
IV. I said to my soul, “be still and let the dark come upon you...”
V. (leaping) through the flames
VI. “...in my end is my beginning...”
slowly through eternity (2013) for violin & piano, for Molly Hollingsworth (7’15”)
Indigo Horizons (2012) for piano quartet (12’20”)
I. The Stark, Indigo Horizon
II. Streams of Light Piercing Through Veiled Clouds
III. Gazed Upon Wings in Sequenced Flight
IV. A Surge of Anxiety
V. Fulminating the Darkness
VI. snowflakes floating down from the martyred heavens…
VII. Flashes of Afterimages
VIII. Breathing in Frost & Ice
IX. Once More the Luminous and Opaque are One
A Vast Empyrean State of Radiance (2012, rev. 2015) for clarinet (doubling bass clarinet), violin, cello, & piano (17’00”)
Lady Isabelle Was That Kind of Woman (2011) for string quartet, commissioned by the Aeolus Quartet in conjunction with the National Endowment for the Arts (9’55”)
All True Passion is Born Out of Anguish (2011) for violin & viola, commissioned by Duo Scordatura of Houston (9’35”)
Circuits & Breakers (2010) for marimba & three percussionists, commissioned by the Aspen Music Festival for the 2010 CompLink Concert Series (5’40”)
The Still Point (2009) for string quartet, commissioned by the Aeolus String Quartet and the Friends of Chamber Music (Reading, PA) – two movements commissioned by the Aspen Music Festival for the 2009 CompLink Concert Series (35’30”)
I. Moves Perpetually in its Stillness
II. Time Past
III. Between Un-Being & Being
IV. Time Present
V. Transient Beauty
VI. Time Future
VII. A White Light Still & Moving
Dissolution & Dissipation (2009) for cello & percussion (5’00”)
The Open (2008) for violin & piano, commissioned by Mr. William Preucil, former concertmaster of the Cleveland Orchestra (19’35”)
I. “The cool breeze across the lake”
II. “I go there to relax”
III. “And we gossiped about...”
IV. “Arriving, we stepped out onto our new lawn”
Of This Earth (2007-2008) for string quartet (25’40”)
I. Novae
II. Inferno
III. Ponderous
IV. Iridescence
V. Drifts
VI. Rainbows
VII. Fractals
VIII. Bruises
IX. “Then breathe thy wail upon the earth’s wailing wind...”
Iridescence* (2007) for string quartet; commissioned by the Cleveland Museum of Natural History (3’35”)
Chaos & Harmony (2007) for horn quartet (8’10”)
Summer’s Songs (2005) for string quartet (8’25”)
I. Jeremy’s Jig
II. Midnight Waltz
III. Å krysse Landet
IV. Wednesday Reel
Sleeper’s Eve (2004) for soprano and string quartet (3’50”)
- Chamber (5 or more musicians) -
***New Work*** (2019-2020) for flute (doubling piccolo), clarinet (doubling bass), violin, cello, piano & percussion, commissioned by Balance Campaign (in progress)
Blood of the Vine (2017) for baritone, flute, trumpet, violin, viola, & cello (10’00”), commissioned by The International Artists Initiative for Maundy Thursday 2017
I. Lamentations
II. The Blood
III. The Wine
Paper Dreams (2016) for string orchestra (10’00”)
I. Leonardo’s Flying Machine
II. A Penchant for Sequins
III. F = -kx
No Trace (2014) for string quartet & percussion (7’55”)
Had I the Heavens’ Embroidered Cloths (2014) for soprano & cello octet (10’50”)
Lessons on Darkness (2013) for string quartet with track or string octet, commissioned by the Kronos Quartet (16’00”)
(in)finite loop modulator (2011) for piano quintet, commissioned by Scordatura Music Society (9’35”)
Unraveled (2008, revised 2009) for woodwind quintet (6’00”)
He Watched Me Fall (2008) for soprano & large chamber ensemble; arrangement of full orchestra version (26’05”)
Los sonetos de la muerte (2007) for soprano & five percussionists (36’15”)
I.
Huesos
II.
Roto
III.
When Dreams Suddenly Fall (2006-2007) for oboe, viola, double bass, guitar, & harp (6’10”)
Night Words (2006) for soprano, flute (piccolo), oboe (english horn), clarinet, violin, viola, cello, & two percussionists (7’50”)
I. Good Night
II. Young Night Thought
- Orchestral -
Requiem (2015) for boy soprano, soprano, and baritone solo, chorus, and orchestra – 2, 2, 2, 2 – 4, 3, 1 – timp, 2perc – str (45’00”)
I. Introit
II. Kyrie eleison
III. Dies Iræ
IV. Agnus Dei
V. Lux æterna
VI. In paradisum
Scaffold (2012) for orchestra – 2, 2, 2, 2 – 4, 3 – timp – str; commissioned by John Devlin and the Capital City Symphony (7’10”)
We Played As Children Under an Azure Sky (2012) for orchestra – 2, 2, 2, 2 – 4, 3, 2+bass, 1 timp, 3perc, hp, pno/cel – str; for the Cabrillo Festival (9’15”)
Strange Attractors (2010) for orchestra – 2+picc, 2+cor ang, 2+bass, 1+contra – 4, 3, 2+bass, 1 timp, 2perc, hp, pno/cel – str; commissioned by Dr. Paul-Elliot Cobbs and the Tacoma Youth Symphony Association (11’25”)
Portrait of a Young Boy; “Such A Child” (2008-2009) for solo violin and full orchestra – 2d1, 1, 2, 1 – 2, 0, 1+bass, 0 – timp, perc, pno – solo – str (22’25”)
Blue Doors (2008) for full orchestra – 2, 2, 2, 2 – 2, 2, 0, 0 – timp, 2perc, pno – str ; commissioned by Benjamin Klemme and the Santa Fe Youth Symphony Association (5’40”)
He Watched Me Fall (2007-2008) for Soprano and orchestra – 2+picc, 2+cor ang, 2+bass, 2 – 4, 2, 2+bass, 1 – timp, 3perc, hp – solo – str (26’05”)
Apostrophe (2007) for orchestra – 2+picc, 2+cor ang,2+bass, 2+contra – 4, 3, 2+bass, 1 – timp, 3perc, 2 hp – str; commissioned by Jayce Ogren and the Cleveland Orchestra Youth Orchestra (8’45”)
- Ballet, Opera, and Theater -
Becoming Sugar Plum (2015-2016) for flute, violin, cello, piano, & percussion, commissioned by the Metropolitan Ballet Theater & Academy (85’00”)
- Solo -
Letters to Home (2013) for violin, commissioned by Sarah Pizzichemi of the Skyros Quartet (10’50”)
I. Echoes
II. Jolt
III. Mother of Waters
IV. Terrane
V. Fuzzbox
6267 Little Riverdam Road (2013) for violin, commissioned by Bryan Hall (10’35”)
The Solace (2011-2012) for Harp (7’35”)
I. The Pattern Made by the Light
II. The Passing of Darkness
III. Refractives
Three Rhapsodies for Unaccompanied Violin (2006-2007) for violin (21’15”)
I. “Echoes”
II. “Drone Dance”
III. “Rage & Lament”
Black & White (2006) for piano (5’35”)
- Wind Ensemble -
***New Work*** (2019) for wind ensemble orchestra, commissioned by James Patrick Miller and the Gustavus Wind Orchestra (in progress)
Wound in a Mind’s Wandering (2012, rev. 2015) for wind ensemble orchestra – 2+picc, 2+cor ang, 2, 2, 2 (alto, bari) – 2, 0, 0, 1 – timp, 3perc, pno (in progress)
I. The Ghost-Lover
II. The Knave
III. Until I Plunge into the Sun
- Choral -
The Road (2010) for SATB choir (3’45”)
<i am just thought> (2006-2007) for SSAATTBB (8’00”)
Between Bitterness and Cold (2006) for classical guitar & SSAATTBB (3’20”)
Mind of Winter (2005) for solo cello & SSAATTBB (3’05”)
A Good Night (2004) for SSAATTBB (3’20”)
Vision (2004) for double SATB choir (2’00”)
- Electronic Music -
Nineteen (2009) for tuba & electronics [MaxMSP] (5’35”)
It Was 1929 (2008) composed using Logic 5, for 5.1 stereo playback (6’30”)
Down (2008) composed using Digital Performer (5’35”)
Static (2007) composed using Digital Performer (5’10”)
