solo

excision no. 3: kintsugi (in progress)
for piano and live electronics (10')
commissioned by pianist Michael Kirkendoll

excision no. 2: they didn't know we were seeds (2017-18)
for viola and live electronics (10')
commissioned by violist Kurt Rohde and the Barlow Endowment

excision no. 1: (2015)
for drumset and live electronics (6')
written for percussionist Joe Tucker and The Curiosity Cabinet

a silhouette of constrained motion, I (2015)
for solo trombone (4.5')
commissioned by Synchromy Music for trombonist Matt Barbier

Phantosmia (2012)
for solo clarinet (7')
written for Greg Oakes

chamber

Shrill
evening-length electroacoustic chamber opera about the social history of voice technology
commissioned by Guerilla Opera
supported by a 2020-2021 Fellowship at the Radcliffe Institute for Advanced Study at Harvard University

evolved air (2021) for SSSSAAAA vocal ensemble with megaphones (13')
commissioned by the The Peabody Conservatory at The Johns Hopkins University

archipelago (2020)
for piano, percussion, and live electronics (flexible duration)
commissioned by pianist Brianna Matzke for the The Response Project

colluvium II (2019)
for bass flute, bass clarinet, and contrabass (10')
commissioned by the Boston Conservatory Contemporary Performance program

teeth. (2019)
for vocalist, string quartet, and live electronics (12')
commissioned by Dark Sky Projects

...for we who keep our lives in our throats... (2018)
for violin, viola, cello, harp, bass flute, and live electronics (10')
commissioned by the LA Philharmonic

Venusian Ionospheric Dispatches (2017)
for piano four hands and two e-bows (6')
commissioned by the HOCKET Duo

eve (2017)
for violin, viola, cello, and bass clarinet (5')
written for ManiFeste 2017 and the soloists of Ensemble Intercontemperain

how much more compelling is the sea (2015)
for soprano and mixed septet (fl, cl, vln, vc, guitar, pno, perc) (8')
commissioned by the 2015 soundSCAPE festival for Eastman BroadBand

πνευμα μηχανης (pneuma mekhanes) (2014, rev. 2015)
for accordion and chamber ensemble (fl/bfl, ob/ca, cl/bcl, vln, vla, vc, cb, hrpschd, 2 percussion) (11')
written for Isaac Schankler and Talea Ensemble

dirty water (2014, rev. 2015)
for bass clarinet and marimba (6')
commissioned by Transient Canvas

press (2014)
for pierrot ensemble (12')
commissioned by the Oklahoma State University Frontiers New Music Ensemble

colluvium (2013)
for coloratura soprano, two flutes, and bass (10')
for Kirsten Wiest, soprano, Michael Matsuno, flute, Ine Vanoeveren, flute, Matthew Kline, bass

corpus, fractum (2013)
for saxophone quartet (7.5')

Sphinx (2013)
for soprano and clarinet (3.5')
written for Tony Arnold and Michael Norsworthy

Sontag Fragments, Book I (2013)
for mezzo, piano, two toy pianos, and superball mallets (5.5')
written for mezzo-soprano Jennifer Beattie

Rh NEGATIVE (2012)
for accordion, electric guitar, bari sax, and percussion (7.5')
written for the Genkin Philharmonic

umwelt (2012)
for amplified string quartet and live electronics (~16')

selective defrosting (2011, rev. 2012)
for string quartet (8')
written for the Lydian String Quartet
revised for the 2012 New Music on the Point Contemporary Chamber Music Program

heliotrope (2012)
for flute, clarinet, alto saxophone, cello, and piano (10')
written for the 2012 Cortona Sessions for New Music

full fathom five (2012)
for mezzo and piano with superball mallets (4')
written for the 2012 New Music on the Point Contemporary Chamber Music Program

Songs For Insomniacs (2011)
song cycle for soprano and piano (8.5')

becoming (2011)
for pierrot ensemble and harmonica (7')

large ensemble

studies on the intensification of light and shadow (2023)
for solo tenor saxophone and orchestra (10')
written for Geoffrey Deibel and the 2023 NASA Biennial

only you know (2020)
for wind ensemble and electronics (7')
commissioned by Composers and Schools for the Central Dauphin High School Wind Ensemble

anthropogenic tides (2018)
for wind ensemble and live electronics (12')
commissioned by David Vickerman and the SJSU Wind Ensemble (lead commissioner on a consortium of 10 college wind ensembles)

luscinia (2017)
for orchestra and live electronics (12')
commissioned by Steven Schick and the La Jolla Symphony

sear (2016)
for sinfonietta (1.1.1.1 1.1.1.0 pno 2 perc e.gtr 1.1.1.1.1) (8')
written for wild Up for the 2016 LA Phil National Composers Intensive

studies on the intensification of light and shadow (2016)
for tenor saxophone and wind ensemble (9')
commissioned by the Boston Conservatory Wind Ensmble

Unfinished Business (2011)
for orchestra (5')

electronic media

Subsumption No. 1
interactive sound, light, and video installation
collaboration with particle physicist and filmmaker James Beacham
supported by the American Academy in Rome's Adele Chatfield-Taylor Fund for the Arts

Shrill (in progress)
evening-length electroacoustic chamber opera about the social history of voice technology
commissioned by Guerilla Opera

excision no. 3: kintsugi (in progress)
for piano and live electronics (10')
commissioned by pianist Michael Kirkendoll

archipelago (2020)
for piano, percussion, and live electronics (flexible duration)
commissioned by pianist Brianna Matzke for the The Response Project

only you know (2020)
for wind ensemble and electronics (7')
commissioned by Composers and Schools for the Central Dauphin High School Wind Ensemble

teeth. (2019)
for vocalist, string quartet, and live electronics (12')
commissioned by Dark Sky Projects

excision no. 2: they didn't know we were seeds (2017-18)
for viola and live electronics (10')
commissioned by violist Kurt Rohde and the Barlow Endowment

for we who keep our lives in our throats (2018)
for violin, viola, cello, harp, bass flute, and live electronics (10')
commissioned by the LA Philharmonic

anthropogenic tides (2018)
for wind ensemble and live electronics (12')
commissioned by David Vickerman and the SJSU Wind Ensemble (lead commissioner on a consortium of 10 college wind ensembles)

luscinia (2017)
for orchestra and live electronics (12')
commissioned by Steven Schick the La Jolla Symphony

lux subaqueanus (2015)
for jellyfish, custom motion-tracking software, and live electronics
written for Springfest: Immersion at the Birch Aquarium at Scripps

excision no. 1 (2015)
for drumset and live electronics (6')
written for percussionist Joe Tucker and The Curiosity Cabinet

controlled burn (2014)
for either stereo or quadraphonic electronic playback (6.5')

sound cues for Dominic Argento's A Water Bird Talk (2012)
for stereo electronic playback (~45')
written for the Monadnock Music Festival

X (2012)
for bassoon, cello, electric bass, and live electronics (8')
written for the Leonard Bernstein Festival of the Arts at Brandeis University

Markov Transients (2011)
for stereo electronic playback (4')

Menagerie (2011)
for stereo electronic playback (2')

video, installations, and sound art

Note: to view my extensive video documentation work involving other people's pieces and performances, please refer to my company's website.

Subsumption No. 1 (2022)
interactive sound, light, and video installation
collaboration with particle physicist and filmmaker James Beacham
supported by the American Academy in Rome's Adele Chatfield-Taylor Fund for the Arts

video accompaniment for Vivian Fung's Biennale Snapshots
for live video (25')
commissioned by the La Jolla Symphony

lux subaqueanus (2015)
for jellyfish, custom motion-tracking software, and live electronics
written for Springfest: Immersion at the Birch Aquarium at Scripps

theatrical sound design

Sound Cues for Dominic Argento's A Water Bird Talk (2012)
for stereo electronic playback (~45')
written for the Monadnock Music Festival