Chamber and Ensemble

Home (string quartet and chorus version)

This arrangement of the first section of the string quartet Home was commissioned by Conspirare for their House of Belonging recording on the Delos label.

Read More

Home

The refugee crisis in Europe, documented in recent media by horrific stories and photos of displaced families, led me to compose Home.

Read More

Credo (version for string quartet and string orchestra)

When Daniel Ching of the Mirò Quartet asked me to write a quartet for a program he was planning exploring ‘the lighter side of America’, I wasn’t sure I could deliver.

Read More

Seven Seascapes

I have always held a deep fascination for the sea and for all things maritime: the harbor sounds and smells of shipping business, the slap of waves against anchored hulls, the elegant dance of sea plants floating beneath the docks, the distant clang of bells, the taste of salty wind.

Read More

Trio Variations

Trio Variations was commissioned by Constance Cone as a birthday gift to her husband Mike.

Read More

Simaku

I wrote Simaku in the summer of 1996 for the then Elm City Ensemble (now Antares) while attending the fellowship program at Tanglewood.

Read More

Trio-Sinfonia

A couple of music critics have recently asked me whether I believe there is cultural relevancy in using old forms like the symphony and the concerto, and why do I employ these tired old forms in my work?

Read More

Three Nocturnes

Three Nocturnes was commissioned by the Verdehr Trio and Michigan State University.

Read More

Traveler

Traveler was commissioned by the Chamber Soloists of Austin (Texas) and premiered in April 2003.

Read More

Ritual Protocol

Ritual Protocol was composed for Makoto Nakura, after study of ritual music in various cultures.

Read More

Quintet

Quintet for piano and strings (affectionately titled The Red Snapper Quintet) was commissioned by Robert Freeman and members of his family in loving memory of his father, Henry Freeman (1909-97).

Read More

Living Frescoes

Living Frescoes was inspired Bill Viola’s 2002 art installation Going Forth by Day, a series of five looped digital “frescoes” which explore themes of human existence: individuality, society, death, rebirth.

Read More

Credo

When Daniel Ching of the Mirò Quartet asked me to write a quartet for a program he was planning exploring ‘the lighter side of America’, I wasn’t sure I could deliver.

Read More

Lento Assai

Lento Assai was commissioned by the Cypress Quartet as part of its Call and Response commissioning project, a program through which composers write works inspired by masterpieces in the standard repertoire.

Read More

In at the Eye

It was a great pleasure to find occasion to write once more for the bass-baritone Timothy Jones, who in 2002 premiered my first work for voice, Einstein on Mercer Street, based on the poetry of Fleda Brown.

Read More

Four Airs

The opening bears a strong Baroque influence, though the simple “short-long” motive in the piano recurs incessantly throughout the movement and may have its roots in the second movement of Ravel’s Gaspard de la Nuit, Le Gibet.

Read More

Einstein on Mercer Street

In the summer of 2001, I talked to Fleda Brown about the idea of a project involving a set of poems written especially for use in a musical composition.

Read More

Elegy (version for brass ensemble)

Based on a earlier piece for string quartet, Elegy was written for the Bay Brass in 2009.

Read More

Dark Vigil

ark Vigil was a reaction to the unrelenting pattern of violence that plagued our country’s elementary and high schools during the year it was written, 1999.

Read More

Continuo

Continuo was one of twenty-five fanfares commissioned by the National Symphony Orchestra in 1995 and marked my first professional commission.

Read More

And Legions Will Rise

Composed in the summer of 2001, And Legions Will Rise is about the power in all of us to transcend during times of tragedy and personal crisis.

Read More

Arcana

Each night on the Hawaiian island of Maui, the immense volcano Haleakala sleeps soundly by the light of moon until around three AM when several dozen tourists create an unbroken parade of headlights along the long and winding drive to the summit.

Read More

Concerto for Oboe and Strings (version for string quintet)

My Concerto for Oboe and Strings was commissioned by the National Symphony Orchestra for their “Prelude” concert series.

Read More
cOMPONENT divider
This arrangement of the first section of the string quartet Home was commissioned by Conspirare for their House of Belonging recording on the Delos label.
Read More
The refugee crisis in Europe, documented in recent media by horrific stories and photos of displaced families, led me to compose Home.
Read More
When Daniel Ching of the Mirò Quartet asked me to write a quartet for a program he was planning exploring ‘the lighter side of America’, I wasn’t sure I could deliver.
Read More
I have always held a deep fascination for the sea and for all things maritime: the harbor sounds and smells of shipping business, the slap of waves against anchored hulls, the elegant dance of sea plants floating beneath the docks, the distant clang of bells, the taste of salty wind.
Read More
I wrote Simaku in the summer of 1996 for the then Elm City Ensemble (now Antares) while attending the fellowship program at Tanglewood.
Read More
A couple of music critics have recently asked me whether I believe there is cultural relevancy in using old forms like the symphony and the concerto, and why do I employ these tired old forms in my work?
Read More
Quintet for piano and strings (affectionately titled The Red Snapper Quintet) was commissioned by Robert Freeman and members of his family in loving memory of his father, Henry Freeman (1909-97).
Read More
Living Frescoes was inspired Bill Viola’s 2002 art installation Going Forth by Day, a series of five looped digital “frescoes” which explore themes of human existence: individuality, society, death, rebirth.
Read More
When Daniel Ching of the Mirò Quartet asked me to write a quartet for a program he was planning exploring ‘the lighter side of America’, I wasn’t sure I could deliver.
Read More
Lento Assai was commissioned by the Cypress Quartet as part of its Call and Response commissioning project, a program through which composers write works inspired by masterpieces in the standard repertoire.
Read More
It was a great pleasure to find occasion to write once more for the bass-baritone Timothy Jones, who in 2002 premiered my first work for voice, Einstein on Mercer Street, based on the poetry of Fleda Brown.
Read More
The opening bears a strong Baroque influence, though the simple “short-long” motive in the piano recurs incessantly throughout the movement and may have its roots in the second movement of Ravel’s Gaspard de la Nuit, Le Gibet.
Read More
In the summer of 2001, I talked to Fleda Brown about the idea of a project involving a set of poems written especially for use in a musical composition.
Read More
ark Vigil was a reaction to the unrelenting pattern of violence that plagued our country’s elementary and high schools during the year it was written, 1999.
Read More
Continuo was one of twenty-five fanfares commissioned by the National Symphony Orchestra in 1995 and marked my first professional commission.
Read More
Composed in the summer of 2001, And Legions Will Rise is about the power in all of us to transcend during times of tragedy and personal crisis.
Read More
Each night on the Hawaiian island of Maui, the immense volcano Haleakala sleeps soundly by the light of moon until around three AM when several dozen tourists create an unbroken parade of headlights along the long and winding drive to the summit.
Read More
cOMPONENT divider

Credo (version for string quartet and string orchestra)

When Daniel Ching of the Mirò Quartet asked me to write a quartet for a program he was planning exploring ‘the lighter side of America’, I wasn’t sure I could deliver.

Home (string quartet and chorus version)

This arrangement of the first section of the string quartet Home was commissioned by Conspirare for their House of Belonging recording on the Delos label.

Home

The refugee crisis in Europe, documented in recent media by horrific stories and photos of displaced families, led me to compose Home.

In at the Eye

It was a great pleasure to find occasion to write once more for the bass-baritone Timothy Jones, who in 2002 premiered my first work for voice, Einstein on Mercer Street, based on the poetry of Fleda Brown.

Seven Seascapes

I have always held a deep fascination for the sea and for all things maritime: the harbor sounds and smells of shipping business, the slap of waves against anchored hulls, the elegant dance of sea plants floating beneath the docks, the distant clang of bells, the taste of salty wind.

Living Frescoes

Living Frescoes was inspired Bill Viola’s 2002 art installation Going Forth by Day, a series of five looped digital “frescoes” which explore themes of human existence: individuality, society, death, rebirth.

Lento Assai

Lento Assai was commissioned by the Cypress Quartet as part of its Call and Response commissioning project, a program through which composers write works inspired by masterpieces in the standard repertoire.

Trio Variations

Trio Variations was commissioned by Constance Cone as a birthday gift to her husband Mike.

Arcana

Each night on the Hawaiian island of Maui, the immense volcano Haleakala sleeps soundly by the light of moon until around three AM when several dozen tourists create an unbroken parade of headlights along the long and winding drive to the summit.

Credo

When Daniel Ching of the Mirò Quartet asked me to write a quartet for a program he was planning exploring ‘the lighter side of America’, I wasn’t sure I could deliver.

Trio-Sinfonia

A couple of music critics have recently asked me whether I believe there is cultural relevancy in using old forms like the symphony and the concerto, and why do I employ these tired old forms in my work?

Quintet

Quintet for piano and strings (affectionately titled The Red Snapper Quintet) was commissioned by Robert Freeman and members of his family in loving memory of his father, Henry Freeman (1909-97).

Elegy (version for brass ensemble)

Based on a earlier piece for string quartet, Elegy was written for the Bay Brass in 2009.

Four Airs

The opening bears a strong Baroque influence, though the simple “short-long” motive in the piano recurs incessantly throughout the movement and may have its roots in the second movement of Ravel’s Gaspard de la Nuit, Le Gibet.

Three Nocturnes

Three Nocturnes was commissioned by the Verdehr Trio and Michigan State University.

Traveler

Traveler was commissioned by the Chamber Soloists of Austin (Texas) and premiered in April 2003.

Einstein on Mercer Street

In the summer of 2001, I talked to Fleda Brown about the idea of a project involving a set of poems written especially for use in a musical composition.

And Legions Will Rise

Composed in the summer of 2001, And Legions Will Rise is about the power in all of us to transcend during times of tragedy and personal crisis.

Dark Vigil

ark Vigil was a reaction to the unrelenting pattern of violence that plagued our country’s elementary and high schools during the year it was written, 1999.

Ritual Protocol

Ritual Protocol was composed for Makoto Nakura, after study of ritual music in various cultures.

Concerto for Oboe and Strings (version for string quintet)

My Concerto for Oboe and Strings was commissioned by the National Symphony Orchestra for their “Prelude” concert series.

Continuo

Continuo was one of twenty-five fanfares commissioned by the National Symphony Orchestra in 1995 and marked my first professional commission.

Simaku

I wrote Simaku in the summer of 1996 for the then Elm City Ensemble (now Antares) while attending the fellowship program at Tanglewood.