Projects
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Fits & Bursts (2001–2002)

for Richard Fisher & Jeannie Donovan Fisher
Orchestra (piccolo, 2 flutes (3rd doubles piccolo II), 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets in C, 3 trombones, tuba, 4 percussion, piano, 2 harps, strings), 6'

Fits & Bursts was commissioned by Bard College to commemorate the occasion of the naming of their new performing arts center, the Richard B. Fisher Center for the Performing Arts. As a piece of music designed to celebrate a site of artistic production, Fits & Bursts attempts to mimic one of the most frustrating and […]

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It Remains to be Seen (2006)

Commissioned by the Boston University Tanglewood Institute for the Boston University Tanglewood Institute 40th Anniversary Gala Concert
Orchestra, 11'

It Remains to be Seen was written for the Boston University Tanglewood Institute’s 40th Anniversary Gala in July 2006.

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Out of the Loop (2003)

Orchestra, 15'

There are two distinct sets of material at play in Out of the Loop. The first is a clear, sterile pulsing—highly organized and mathematically informed. The second set of material (which exists primarily in the background) is a tonally and rhythmically flexible mess of sorts, involving more shimmering, aggressive and antagonistic material. For the most […]

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Seeing is Believing (2007)

for Thomas Gould, Nicholas Collon and Aurora Orchestra
solo electric six-string violin and chamber orchestra

Seeing is Believing references the exciting and superstitious practice of observing and mapping the sky; while writing it, I wanted to mimic the process by which, through observation, a series of points becomes a line – this seemed like the most appropriate way to think about a soloist versus an orchestra. The electric […]

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So to Speak (2004)

for Amiel Melnick, Fervent Polyglot
Orchestra, 8'

So to Speak (After Thomas Tallis) is an extended meditation on an anthem for Pentecost by Thomas Tallis entitled Loquebantur Variis Linguis (they spoke in many tongues). After organizing the material for the piece, I wrote a melody that works against, underneath, and above Tallis’s lines to create counterpoint made of old and new elements. […]

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Wish You Were Here (2007)

for those who are in danger by reason of their labor or their travel
Orchestra, 10'

I’ve always suspected that cartoons and illustrations do a better job capturing the emotional content of the unknown than pictures and first-hand narration. I have a picture in my head of the illustrators of the 1940s and 1950, holed up in Belgium drawing the tribal peoples of the Congo, or in California articulating gorgeous […]

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