Groundwater (2022, evening-length version), 60’, voice, clarinet, viola, cello, piano, electronics, video projections, and physical materials. Groundwater is a multimedia work that explores groundwater as both an environmental issue and a metaphor for memory. It served as my dissertation in composition at the University of Pennsylvania, where it was premiered with support from the Sachs Fund, Erik Stokes Fund (which supported the 11-minute chamber version composed in 2019), and Pennfield Dissertation Research Award. Its development was further supported by a residency at Copland House, which was a true delight. Performance by Maya Carney, Raissa Bill, Emma Hey, Erin Busch, and Ania Vu, with recording/editing by rec.today.
as a ghost before you on the road (2022), 8’, flute, viola, cello, and electronics (alternate version for clarinet, viola, cello, and electronics is a movement of Groundwater). Commissioned by Musiqa Houston and premiered in October 2022 for their New Voices Project by Tyler Martin, Tonya Burton, and David Dietz.
Ring road (2022), 4’, piano four hands, marimba, vibraphone, and electronics. Written for Yarn/Wire and premiered by the ensemble at the Annenberg Center in Philadelphia, PA in May 2022.
as if my eyes were caught (2021), 6’, flauto d’amore and electronics (or flauto d’amore, mezzo-soprano, and electronics, flute and electronics, or Bb clarinet and electronics). Written for the FdA Project and premiered in May 2022 by Ginevra Petrucci and Heather O’Donovan. (Many thanks for their beautiful performance, which is only slightly marred by the torrential rain that began just before they started to play/sing.)
These and no others (2020), 7.5’, percussion quartet and electronics. Written for and premiered by Sō Percussion.
the eager light (2020), 7.5’, remote or co-located flute, cello, piano, and percussion with electronics. Commissioned by New York New Music Ensemble as part of their Socially-distance Micro Commissions, and now available on the album Sounding in Fathoms, available on streaming platforms.
Boreal (2019), 8’, clarinet, piano, violin, cello, and electronics. Written for Copland House’s CULTIVATE Institute and premiered by Music from Copland House in June 2019 at Merestead.
Unmute (2018), open length, laptop ensemble. A “voiceless” choral work which uses facial tracking and the Leap motion sensor to trigger and manipulate sample playback. Watch.
Eh/k/oh (2018), trumpet, percussion, piano, and live electronics with the percussionist and pianist also speaking and singing. Written for SPLICE Ensemble and premiered at the 2018 SPLICE Festival. Perusal score.
Three Frogs in Arco, Idaho (2018), 9', clarinet, electric guitar, double bass, and live electronics. Written as artist-in-residence at Craters of the Moon National Monument using field recordings made on-site. Premiered at the Toronto Creative Music Lab in June 2018. Perusal score.
We are the same as we have always been (2017), 10', solo B flat or bass clarinet with live electronics. (Also available in versions for bassoon and baritone sax.) Premiered in Philadelphia at the November 2017 Penn Sound Collective concert by clarinetist Raissa Fahlman. Perusal score.
Depth Sounding (2016), 10.5', solo violin with live electronics. Written in collaboration with violinist Kate Dreyfuss; premiered at the 2016 Festival de Música Académica y Contemporánea in Cuenca, Ecuador under the title Being Breathed; and revised for the U.S. premiere in February 2016 at Stony Brook University. Perusal score.
Amassed (2015), 7.5', brass quintet with live electronics. Written for Anima Brass and premiered at Stony Brook University in November 2015.
Playing Out (2014), open length (ca. 18'), hammered dulcimer with live electronics. Excerpts premiered at The North Wall in Oxford, UK in July 2014. Listen.