Opera | Orchestra and Large Ensemble | Vocal Music | Solo and Chamber Music | Percussion Music | Misc.
Invisible Cities (2009–2013)
for four solo voices, chamber choir, chamber orchestra, and electronics
All Wounds Bleed (2011)
for soprano, mezzo-soprano, tenor, and piano (chamber version forthcoming)
Meander, Spiral, Explode (2019)
for percussion quartet and orchestra
The Insects Became Magnetic (2018)
for orchestra and electronics
Violin Concerto (“Breaks and Breaks”) (2018)
for violin and orchestra
Will There Be Singing (2017)
for orchestra
High Windows (2013)
concerto for string orchestra
Still Life with Violin and Orchestra (2010)
for violin and orchestra
Invisible Overture (2008)
for small orchestra
(also available in version for ten players)
Goldbeater’s Skin (2016)
for percussion quartet and mezzo-soprano
(also available in a version for soprano and percussion quartet)
Apocatastatis from Goldbeater’s Skin (2016)
for soprano, guitar, vibraphone, and prepared piano
The Naomi Songs (2015)
for mezzo-soprano or baritone, eleven players, and looping electronics
(also available in a version for voice and sextet)
The Pieces That Fall to Earth (2015)
for high soprano and fourteen players
(also available in version for ten players)
The Branch Will Not Break (2015)
eight singers (SSAATTBB) or small choir and ten players
Not One Word (2014)
for men’s choir
I will learn to love a person (2013)
for soprano, saxophone (or clarinet), percussion, and piano
(or soprano and piano)
That Night with the Green Sky (2012)
for soprano and piano
How to Breathe Underwater (2011)
for baritone, trumpet, trombone, bass clarinet, and pre-recorded electronics
(also available in a version for string quartet and electronics)
Requiem [for K.V.] (2007/2009)
for solo amplified voice and live electronics. Text by Kurt Vonnegut
three e.e. cummings poems (2004)
for SSAATTBB choir
Solo and Chamber (with or without electronics)
Why Was I Born Between Mirrors? (2019)
for flute (or sax), clarinet, violin, cello, piano, and percussion
A Natural History of Vacant Lots (2017-18)
for percussion quartet and electronics
Can’t and Won’t (2017)
for string quartet
Goldbeater’s Skin (2016)
for mezzo-soprano and percussion quartet
(also available in a version for soprano and percussion quartet)
Liminal Highway (2016)
for flute and electronics
The Arching Path (2016)
for solo piano
Shall I Project a World? (2015)
for solo violin
On Being Wrong (2015)
for solo cello and electronics
Sonata for Violin and Piano (2015)
for violin and piano
South Catalina (2014)
for flute, clarinet, percussion, piano, violin, and cello
Double Happiness (2012)
for electric guitar, percussion, and electronics
(available in version for piano and percussion)
Recovering (2011/12)
for clarinet, bassoon, trumpet, trombone, vibraphone, violin, and double bass
The Night Mare (2011)
for flute, clarinet, percussion, piano, violin, viola, cello, and electronics
How to Breathe Underwater (2011/16)
for string quartet and electronics
(also available in a version for baritone, trumpet, trombone, bass clarinet, and pre-recorded electronics)
Hoyt–Schermerhorn (2010)
for solo piano and electronics
Reading a Wave (2008/2010)
for nine instruments placed throughout the audience.
Variations on a Still Point (2006/7)
for guitar, saxophone, percussion and piano
Percussion Music (with or without other instruments)
A Natural History of Vacant Lots (2017-18)
for percussion quartet and electronics
Goldbeater’s Skin (2016)
for percussion quartet and mezzo-soprano
Memory Palace (2012)
for solo percussionist and electronics
(available in version for percussion quartet)
Electronic Solo / Installation / Arrangements
Serenity (Charles Ives) (2010)
for bass flute, bass clarinet, percussion, piano, violin, viola, and cello