Chamber: Gretel Gretel, was composed at the request of oboist Charles Huang who premiered the piece in April of 2008. This recording features Daren Weissfisch on oboe and Bill Solomon on vibraphone.
Chamber: Become as Became, Mvt.I Become as Became was composed in 2006 at the request of the Quintaero Wind Quintet. This performance features Sarah Holmes, flute; Daren Weissfisch, oboe; Dan Liptak, clarinet; Andrew Ho, horn; Allison Nicotera, bassoon.
Solo: Two Springtime Fragments Two Springtime Fragments is a short vignette based around a few simple ideas that don't so much develop as get re-contextualized as the piece progresses. Colin Britt: piano.
Chamber: Wunderkammer Mvt. 3 Wunderkammer is a three movement suite for piano & vibraphone. As the title suggests, the music is something of an aural curio. Maria Bessonova: Piano, Tim Broscious: Vibraphone.
Open Form/Chamber: Symphony, Prelude.Dream.Memory Composed for the New York Miniaturist Ensemble, this piece was created as a hallucinatory interlude to be performed within a concert program. The opening & closing meditative sequences "bookend" a middle section where the performers are asked to develop motivic fragments from the pieces that immediately proceed and follow it on the concert program.
Electronic: Ground I find the Harpsichord to be a fascinating instrument. I think this stems from the fact that despite certain attempts in the 20th century at liberation, the harpsichord has a sound that can’t seem to escape its ties to the past. With this in mind, I thought it would be entertaining to imagine what a Harpsichord might sound like if it were attempting to break out of its own sonic cage. The result is “Ground”, my humble contribution to the 60x60 Project (2007).
Electronic: The Bachelor Descends This piece was created by juxtaposing different scraps of "found" audio in order to create a soundscape where disembodied voices count and chant their way into oblivion...