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Projects
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A Long Line (2003)

for Erik Carlson
Violin & Tape, 6'

A Long Line, for solo violin and electronics, was written for violinist Erik Carlson and was originally meant for performance as part of VisionIntoArt’s 2003 show Democrazy. The piece is built around a series of chords played by electric organ and articulated by bass clarinet and bass drum. These chords gradually shorten over the length […]

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Booklet (2008)

Solo Piano, 15'

Commissioned by Gilles Vonsattel and premiered by him on 12 October 2008 at the National Gallery of Art, Washington D.C., United States of America.

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Cello Concerto (2012)

for Olly Coates
Solo Cello & Orchestra, 18'

When the Barbican asked me to write a concerto for Olly Coates and the Britten Sinfonia, I immediately started making plans. I wanted to write something formally traditional (fast-slow-fast) but with steadily developing content. The first movement is angular, the second supple, and the third motoric; there is constant progression and no looking back. The […]

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Chorale Prelude on Lasst uns erfreuen (2007)

for Christian Lane & the Evangelical Reformed United Church of Christ, Frederick, Maryland
Organ, 14'

In honour of Alison Shafer, commemorating 25 years of distinguished service.

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Double Standard (2012)

Two Solo Percussionists and Orchestra, 16'

Commissioned by The Tromp Percussion Competition Eindhoven and Muziekgebouw Frits Philips Eindhoven.

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Fast Cycles (2009)

for James McVinnie
Organ, 6'

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Honest Music (2002)

for Lisa Liu
Violin & pre-recorded CD

On the page, the violin part for Honest Music looks something like Terry Riley’s In C, insofar as it’s a collection of discrete, modular phrases to be recombined in “performance,” or in this case, by the electronic manipulation of the recording–but these aren’t Riley’s musical Lego blocks; most of these are long, expressive, idiomatic gestures, […]

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Hudson Preludes (2005)

for James McVinnie
Organ, 7'

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It Goes Without Saying (2005)

clarinet & pre-recorded CD, 9'

For a piece with such a strong electronic component, It Goes Without Saying is surprisingly organic. While the electronics include chillier, metallic noises””samples ranging from a kitchen whisk to a unique set of tiny bells””most prominent are the warm, woody sounds of a harmonium and of clicking clarinet-keys, sounds that share a certain sonic DNA […]

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It’s About Time (2004)

for Sam Solomon
Solo percussion

It’s About Time has two sets of attendant notes, one by Sam, for whom it was written, and one by me.

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Keep in Touch (2005)

for Nadia Sirota
Viola & pre-recorded CD, 12'

Keep in Touch is a lament, a sort of chaconne divided up into sections by more freely-composed cadenzas for the viola.

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O Antiphon Preludes (2010)

for James McVinnie
Organ

Each prelude is based on each of the Seven Great O Antiphons for Advent: O Sapientia, quae ex ore Altissimi prodiisti, attingens a fine usque ad finem, fortiter suaviterque disponens omnia: veni ad docendum nos viam prudentiae. O Adonai, et Dux domus Israel, qui Moysi in igne flammae rubi apparuisti, et ei in Sina legem […]

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O Antiphon Preludes (2010)

Organ, 25'

Each prelude is based on each of the Seven Great O Antiphons for Advent: O Sapientia, quae ex ore Altissimi prodiisti, attingens a fine usque ad finem, fortiter suaviterque disponens omnia: veni ad docendum nos viam prudentiae. O Adonai, et Dux domus Israel, qui Moysi in igne flammae rubi apparuisti, et ei in Sina legem […]

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Patterns (2014)

Organ, 25'

Commissioned by the American Guild of Organists. Patterns is composed in four sections, each of which is sort of a rhythmic e?tude. The first (“Move Along”) is a perpetual motion machine with staggered and angular rhythms thrown between the pedals and the left hand. The second movement (“Palindromes”) is calmer and is centered around an […]

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Pillaging Music (2005)

for Valgeir
Percussion, piano, celeste, & pre-recorded CD

Muhly names Pierre Boulez as the inspiration for Pillaging Music, and it’s easy to hear the influence of pieces like Sur-incises and Répons on this metallic piano/percussion texture

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Radiant Music (2002)

for Alice K. Dade
Flute & pre-recorded CD, 8'

Radiant Music was written for Alice K. Dade at her request for a short recital piece. The tape part is made up of several episodes of shimmering music for electric flutes, dulcimers, organs, baroque strings, trumpet, and choir. This piece is focused on a simple progression of three chords; this progression appears in the sequence […]

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Short Stuff (2009)

Jeffrey Kahane
Piano, 5'

Commissioned by Jeffrey Kahane for the world premiere performance on April 26, 2009.

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The Elements of Style (2005)

Voice & Chamber Ensemble, 26'

The Elements of Style is a song cycle written as a response to Maira Kalman’s illustrated version of Strunk and White’s manual by the same name. It was originally performed in the main reading room at the New York Public Library with a small ensemble of musicians and a larger ensemble of non-musicians playing percussion […]

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Three Etudes for Viola

for Nadia Sirota
Viola & Tape, 19'

These three etudes may be performed in any order, all together, or singularly. The pre-recorded material for these e?tudes should be mixed in such a way that the viola rides in the middle of the texture. Etude 2, however, should favor the solo viola. While we have had successful performances with the tape coming from […]

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Two Voices (2010)

Hillary Hahn
Violin & Piano, 4'

Commissioned by Hilary Hahn as part of the Encores project, 2010.

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Viola Concerto (2014)

for Nadia, friend and teacher
Viola & Orchestra, 24'

Co-commissioned by Orquesta y Coro Nacionales de España, Detroit Symphony Orchestra, Festival de Saint Denis and the National Arts Centre Orchestra and Alexander Shelley, Music Director Designate. First performed on 6 February 2015 by Nadia Sirota (viola) and Orquesta Nacionales de España, conducted by Nicholas Collon. My viola concerto (2014) has a traditional structure: a […]

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You Can’t Get There From Here

Piano, 17.30'

You Can’t Get There From Here is a meditation, in several connected sections played without pause, on, among other things, The Fitzwilliam Virginal Book, itself a somewhat abstract collection of music by various composers. The piece is, in a sense, a collection of memories: a strange fragment of Tudor music here, a scrap of motor-music […]

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