ORIGINAL WORKS
Recordings are available here and please contact the composer directly for scores and performance materials.
ORCHESTRA
"Celestial Dawning” for full orchestra (2015) (13’)
"Creation" for full orchestra (2021) (7')
"Flourish" for chamber orchestra (2019) (7')
"In Search of Imagery" for orchestra (2021) (20')
"Mother of War" for full orchestra (2013) (9’)
"Night Visions" for full orchestra (2003) (9')
"Odes of Praise" from Canticles from the Ends of the Earth for chorus and orchestra with texts set in Latin from The Book of Psalms, numbers 148 and 150 (2018) (9')
"With Reverence" for solo French horn, string orchestra and percussion (2009) (11')
"Creation" for full orchestra (2021) (7')
"Flourish" for chamber orchestra (2019) (7')
"In Search of Imagery" for orchestra (2021) (20')
"Mother of War" for full orchestra (2013) (9’)
"Night Visions" for full orchestra (2003) (9')
"Odes of Praise" from Canticles from the Ends of the Earth for chorus and orchestra with texts set in Latin from The Book of Psalms, numbers 148 and 150 (2018) (9')
"With Reverence" for solo French horn, string orchestra and percussion (2009) (11')
CHOIR
“A Time for Everything” (text, Ecclesiastes 3: 1-8 set in Latin) for SATB choir from Canticles from the Ends of the Earth for SATB choir (7’)
"Air Particulates" for SATB choir (text, Kirsten Soriano) (text, data from the EPA and the Toronto Street air sensor) from Mis-lead" An Untold Landscape (2023) (2')
"Arsenic, Lead, Cadmium" (text Kirsten Soriano, inspired by Luis Sepulveda) for SATB choir from Mis-lead" An Untold Landscape (2023) (3')
"As One Listens" (text Octavio Paz) for SATB choir from Mis-lead: An Untold Landscape (2023) (8-9')
"Between Staying and Going” text Octavio Paz) for SATB choir from Mis-lead: An Untold Landscape (2023) (3')
"Breathturn" (text, Paul Celan) for SATB choir (2009) (6’)
"Eternal Light" (text, Lux Aeterna) for SATB choir from Canticles from the Ends of the Earth (2019) (6')
“I Carry your Heart” (text, Edward Estin Cummings) for SATB choir, piano and violoncello (2016) (5’)
"I Will Be Free" (text, Maya Angelou) for SATB choir from Mis-lead: An Untold Landscape (2023) (3')
"Let Us Come Together" (text, Maya Angelou) for SATB choir from Mis-lead: An Untold Landscape (2023) (4')
"Love is Patient“ (text, Corinthians 4-13 set in Latin) for SATB chorus and string quartet from Canticles from the Ends of the Earth (2022) (6')
"Now I Remember" (text, Octavio Paz) for SATB choir from Mis-lead: An Untold Landscape (2023) (11')
"Proud Blooms" (text, Maya Angelou) for SATB choir from Mis-lead: An Untold Landscape (2023) (5-6')
"Odes of Praise" (texts from The Book of Psalms, numbers 148 and 150 set in Latin) from Canticles from the Ends of the Earth for SATB choir and orchestra (9')
"On Solitary Fields" (text, Emily Dickinson) for SSAA choir and chamber ensemble (2019) (13')
"Storm Clouds Are Gathering " (text, Maya Angelou) for SATB choir from Mis-lead: An Untold Landscape (2023) (3-4')
"The Place Where I Live" (text Kirsten Soriano, inspired by Luis Sepulveda) for SATB choir from Mis-lead: An Untold Landscape (2023) (7')
"Winter Cheer" (text, Hattie Whitney) for SATB chorus and piano (7')
"Air Particulates" for SATB choir (text, Kirsten Soriano) (text, data from the EPA and the Toronto Street air sensor) from Mis-lead" An Untold Landscape (2023) (2')
"Arsenic, Lead, Cadmium" (text Kirsten Soriano, inspired by Luis Sepulveda) for SATB choir from Mis-lead" An Untold Landscape (2023) (3')
"As One Listens" (text Octavio Paz) for SATB choir from Mis-lead: An Untold Landscape (2023) (8-9')
"Between Staying and Going” text Octavio Paz) for SATB choir from Mis-lead: An Untold Landscape (2023) (3')
"Breathturn" (text, Paul Celan) for SATB choir (2009) (6’)
"Eternal Light" (text, Lux Aeterna) for SATB choir from Canticles from the Ends of the Earth (2019) (6')
“I Carry your Heart” (text, Edward Estin Cummings) for SATB choir, piano and violoncello (2016) (5’)
"I Will Be Free" (text, Maya Angelou) for SATB choir from Mis-lead: An Untold Landscape (2023) (3')
"Let Us Come Together" (text, Maya Angelou) for SATB choir from Mis-lead: An Untold Landscape (2023) (4')
"Love is Patient“ (text, Corinthians 4-13 set in Latin) for SATB chorus and string quartet from Canticles from the Ends of the Earth (2022) (6')
"Now I Remember" (text, Octavio Paz) for SATB choir from Mis-lead: An Untold Landscape (2023) (11')
"Proud Blooms" (text, Maya Angelou) for SATB choir from Mis-lead: An Untold Landscape (2023) (5-6')
"Odes of Praise" (texts from The Book of Psalms, numbers 148 and 150 set in Latin) from Canticles from the Ends of the Earth for SATB choir and orchestra (9')
"On Solitary Fields" (text, Emily Dickinson) for SSAA choir and chamber ensemble (2019) (13')
"Storm Clouds Are Gathering " (text, Maya Angelou) for SATB choir from Mis-lead: An Untold Landscape (2023) (3-4')
"The Place Where I Live" (text Kirsten Soriano, inspired by Luis Sepulveda) for SATB choir from Mis-lead: An Untold Landscape (2023) (7')
"Winter Cheer" (text, Hattie Whitney) for SATB chorus and piano (7')
CHOIR AND ORCHESTRA
Canticles from the Ends of the Earth for SSAATTBB chorus and orchestra (one hour)
"Eternal Light" (text, Lux Aeterna) for SSAATTBB chorus, string orchestra, and percussion from Canticles from the Ends of the Earth (2022) (6')
“Hear my Voice” (text, Psalm 130 set in Latin) for SATB choir, string orchestra, and percussion (2022) (10’)
"Love is Patient“(text, Corinthians 4-13 set in Latin) for SATB chorus and string orchestra (2022) (6')
"Odes of Praise" (texts from The Book of Psalms, numbers 148 and 150 set in Latin) from Canticles from the Ends of the Earth for chorus and orchestra (2018) (9')
"On Solitary Fields" (text, Emily Dickinson) for SSAA choir and chamber ensemble (13') (2019)
"Eternal Light" (text, Lux Aeterna) for SSAATTBB chorus, string orchestra, and percussion from Canticles from the Ends of the Earth (2022) (6')
“Hear my Voice” (text, Psalm 130 set in Latin) for SATB choir, string orchestra, and percussion (2022) (10’)
"Love is Patient“(text, Corinthians 4-13 set in Latin) for SATB chorus and string orchestra (2022) (6')
"Odes of Praise" (texts from The Book of Psalms, numbers 148 and 150 set in Latin) from Canticles from the Ends of the Earth for chorus and orchestra (2018) (9')
"On Solitary Fields" (text, Emily Dickinson) for SSAA choir and chamber ensemble (13') (2019)
WIND SYMPHONY
Transformative States for wind symphony is a modular piece for symphonic winds. Many combinations of the below segments may be performed in succession and some movements may also bypass others ("Flow," for example, may lead directly to "Cloud-Like"). The cycle may also begin with "Swirling" or "Cloud-Like" and proceed to the end and it can, of course, begin with "Flow" and proceed through all movements in succession to end with "Glacial."
I) "Flow" for solo alto saxophone
II) "Swirling" for three flutes, three clarinets, piano, optional harp, and two percussionists
III) "Fluidly" for three flutes, three clarinets, and two percussionists
IV) "Cloud-like" for solo flute and solo saxophone with three flutes, three clarinets, piano, optional harp, and two percussionists (versions for flute and saxophone duo; alto flute and saxophone duo or alto saxophone duo also possible)
V) "Flecks" for three flutes, piano, optional harp, and two percussionists
VI) "Coursing" for three flutes, three clarinets, piano, optional harp, and two percussionists
VII) "Rapids" for three flutes, three clarinets, piano, optional harp, and two percussionists
VIII) "Glacial" for wind ensemble or full wind symphony
I) "Flow" for solo alto saxophone
II) "Swirling" for three flutes, three clarinets, piano, optional harp, and two percussionists
III) "Fluidly" for three flutes, three clarinets, and two percussionists
IV) "Cloud-like" for solo flute and solo saxophone with three flutes, three clarinets, piano, optional harp, and two percussionists (versions for flute and saxophone duo; alto flute and saxophone duo or alto saxophone duo also possible)
V) "Flecks" for three flutes, piano, optional harp, and two percussionists
VI) "Coursing" for three flutes, three clarinets, piano, optional harp, and two percussionists
VII) "Rapids" for three flutes, three clarinets, piano, optional harp, and two percussionists
VIII) "Glacial" for wind ensemble or full wind symphony
LARGE INSTRUMENTAL ENSEMBLE
"Arcs" for large chamber ensemble (2019) (9")
"Branching” for mixed winds and strings from the Natura cycle (2007) (7’)
In Search of Imagery cycle o five movements for mixed winds, strings, piano, and percussion (2019) (20')
"On Solitary Fields" (text, Emily Dickinson) for SSAA choir and chamber ensemble (2019) (13')
"The Sound of Bells" for large chamber ensemble from In Search of Imagery (2019) (8')
The Waters of Time (text, Pablo Neruda set in Spanish) cycle of seven movements drawn from the instrumentation: soprano and flute, clarinet, violin, cello, piano and percussion (2007-2022) (3-50’)
"Veiled in Morning Mist" for large chamber ensemble (2019) (8')
"Wild Sea" for large chamber ensemble (2019) (7")
“With Reverence” version for solo French horn, eleven strings and percussion (2011) (11')
"Branching” for mixed winds and strings from the Natura cycle (2007) (7’)
In Search of Imagery cycle o five movements for mixed winds, strings, piano, and percussion (2019) (20')
"On Solitary Fields" (text, Emily Dickinson) for SSAA choir and chamber ensemble (2019) (13')
"The Sound of Bells" for large chamber ensemble from In Search of Imagery (2019) (8')
The Waters of Time (text, Pablo Neruda set in Spanish) cycle of seven movements drawn from the instrumentation: soprano and flute, clarinet, violin, cello, piano and percussion (2007-2022) (3-50’)
"Veiled in Morning Mist" for large chamber ensemble (2019) (8')
"Wild Sea" for large chamber ensemble (2019) (7")
“With Reverence” version for solo French horn, eleven strings and percussion (2011) (11')
SMALL INSTRUMENTAL ENSEMBLE
“Air” for flute and guitar (2008) (6’)
“Air” for woodwind quintet from the Natura cycle (2008) (6’)
“As if Snow” for harp, vibraphone and piano from the Natura cycle (2009) (7')
"Aqua Luminous" for violin and harp (2021) (7')
"By the Shore" for piano trio and dancers (2022) (9-10')
“Cloud-Like” version for flute and alto saxophone (2014) (5’)
“Cloud-Like” version for alto flute and alto saxophone (2014) (5’)
“Cloud-Like” version for two alto saxophones (2014) (5’)
“Color and Texture” for clarinet, violin and piano (2016) (12')
“Emerge” for piano and three bowed piano players (6’) from the Resonant Strands cycle (2006) (5')
“Ethers” for French horn, percussion and violoncello (2011) (10’)
“Flutter” version for violin and harp from the In Search of Imagery cycle (2017) (5’)
“Halo” for two prepared vibraphones, piano, harp, cello and contrabass In Search of Imagery cycle (2016) (15’)
“Increscent” for violin and piano/bowed piano from the Resonant Strands cycle (2004) (10’)
“In Stillness” version or bass clarinet and cello (2007) (9')
“In Stillness” version for bass clarinet and string quartet (9’) from the Natura cycle (2008) (9')
“Inward” for string quartet (2011) (9')
“Lament” for string quartet (2003) (5’)
"Like Breath on Glass" for flute, soprano saxophone, bass clarinet, percussion, vibraphone, marimba, harp, and piano (2003) (4')
"Moonlight, Refracted" version for clarinet, two percussionists and piano (6’) (2016)
“Of Resonance” for string quartet from the Resonant Strands cycle (9’) (2007)
“Sketches at Dusk and Daybreak" for flute in c/alto flute, vibraphone and piano (9’) (2003)
“Take me In” (text, Jalāl ad-Dīn Muhammad Rūmī translated by Nader Khalili) for soprano, alto flute, French horn, harp, violoncello and contrabass (13') (2016)
"Undercurrents" for bass flute, contrabass clarinet, piano, percussion, violoncello and contrabass (6’) (2016)
"Veiled in Morning Mist" for flute and piano with one bow from the In Search of Imagery cycle (7') (2017)
“Air” for woodwind quintet from the Natura cycle (2008) (6’)
“As if Snow” for harp, vibraphone and piano from the Natura cycle (2009) (7')
"Aqua Luminous" for violin and harp (2021) (7')
"By the Shore" for piano trio and dancers (2022) (9-10')
“Cloud-Like” version for flute and alto saxophone (2014) (5’)
“Cloud-Like” version for alto flute and alto saxophone (2014) (5’)
“Cloud-Like” version for two alto saxophones (2014) (5’)
“Color and Texture” for clarinet, violin and piano (2016) (12')
“Emerge” for piano and three bowed piano players (6’) from the Resonant Strands cycle (2006) (5')
“Ethers” for French horn, percussion and violoncello (2011) (10’)
“Flutter” version for violin and harp from the In Search of Imagery cycle (2017) (5’)
“Halo” for two prepared vibraphones, piano, harp, cello and contrabass In Search of Imagery cycle (2016) (15’)
“Increscent” for violin and piano/bowed piano from the Resonant Strands cycle (2004) (10’)
“In Stillness” version or bass clarinet and cello (2007) (9')
“In Stillness” version for bass clarinet and string quartet (9’) from the Natura cycle (2008) (9')
“Inward” for string quartet (2011) (9')
“Lament” for string quartet (2003) (5’)
"Like Breath on Glass" for flute, soprano saxophone, bass clarinet, percussion, vibraphone, marimba, harp, and piano (2003) (4')
"Moonlight, Refracted" version for clarinet, two percussionists and piano (6’) (2016)
“Of Resonance” for string quartet from the Resonant Strands cycle (9’) (2007)
“Sketches at Dusk and Daybreak" for flute in c/alto flute, vibraphone and piano (9’) (2003)
“Take me In” (text, Jalāl ad-Dīn Muhammad Rūmī translated by Nader Khalili) for soprano, alto flute, French horn, harp, violoncello and contrabass (13') (2016)
"Undercurrents" for bass flute, contrabass clarinet, piano, percussion, violoncello and contrabass (6’) (2016)
"Veiled in Morning Mist" for flute and piano with one bow from the In Search of Imagery cycle (7') (2017)
SOLO INSTRUMENT
“Constellations” version for solo piano from the Natura cycle (2008) (7')
“Echoes” for solo piano (2010) (5')
“Emerge” for piano and three bowed piano players (6’) from the Resonant Strands cycle (2006) (5')
"Flow" for solo clarinet (5')
"Flow" for solo flute (5')
"Flow" for solo saxophone (5')
From Natura: Four Movements for Solo Piano (includes "Undercurrents; "Rain Gardens;" Moonlight, Refracted;" and "Constellations" (25") (2008-2016)
"Moonlight, Refracted" version for solo piano from the Natura cycle (2017) (6’)
"Nocturne" for solo piano (2002) (5-6')
“Opening” version for solo violoncello (5’) from the Resonant Strands cycle (2006)
“Opening” version for solo violin (2008) (5’)
“Opening” version for solo viola (2008) (5’)
“Rain Gardens” for solo piano from the Natura cycle (2012) (6’)
“Tendrils” for clarinet (6’) from the Natura cycle (2016) (9')
“Tendrils” for clarinet (6’) from the Natura cycle (2016) (9')
"Towards Sunrise" for euphonium and piano (2023) (6’)
"Towards Sunrise" for French horn and piano (2024) (6’)
"Undercurrents" version for solo piano from the Natura cycle (2017) (6')
"Unfold" for solo viola (2022) (8')
"Unfold" for solo violin (2022) (8')
"Unfold" for solo violoncello (2022) (8')
"Without Words" for solo piano (12')
“Echoes” for solo piano (2010) (5')
“Emerge” for piano and three bowed piano players (6’) from the Resonant Strands cycle (2006) (5')
"Flow" for solo clarinet (5')
"Flow" for solo flute (5')
"Flow" for solo saxophone (5')
From Natura: Four Movements for Solo Piano (includes "Undercurrents; "Rain Gardens;" Moonlight, Refracted;" and "Constellations" (25") (2008-2016)
"Moonlight, Refracted" version for solo piano from the Natura cycle (2017) (6’)
"Nocturne" for solo piano (2002) (5-6')
“Opening” version for solo violoncello (5’) from the Resonant Strands cycle (2006)
“Opening” version for solo violin (2008) (5’)
“Opening” version for solo viola (2008) (5’)
“Rain Gardens” for solo piano from the Natura cycle (2012) (6’)
“Tendrils” for clarinet (6’) from the Natura cycle (2016) (9')
“Tendrils” for clarinet (6’) from the Natura cycle (2016) (9')
"Towards Sunrise" for euphonium and piano (2023) (6’)
"Towards Sunrise" for French horn and piano (2024) (6’)
"Undercurrents" version for solo piano from the Natura cycle (2017) (6')
"Unfold" for solo viola (2022) (8')
"Unfold" for solo violin (2022) (8')
"Unfold" for solo violoncello (2022) (8')
"Without Words" for solo piano (12')
SOLO VOICE AND CHAMBER ENSEMBLE
"Close” (text, Pablo Neruda) for female voice and piano from the Waters of Time cycle (2010) (3')
“Collecting Winter” (text, Philip Levine) for tenor, vibraphone, piano and cello (5’) (in preparation)
Dream-Paths cycle (text, Ono No Komachi set in ancient Japanese) for female voice, piano/prepared piano, electric guitar and percussion (2014-2016) (25’)
“In the Weavings” (text, Pablo Neruda) for soprano, alto flute, clarinet, violin, cello, piano and percussion from The Waters of Time cycle (3-4’) (2008)
“In Widening Circles” (text, Rainer Maria Rilke, set in German) for soprano, keyboard instrument and sustaining instrument (6’) (2013)
“Its Whisper” (text, Pablo Neruda) for female voice, flute and clarinet from the Waters of Time cycle (3’) (2009)
“Take me In” (text, Jalāl ad-Dīn Muhammad Rūmī translated by Nader Khalili) for soprano, alto flute, French horn, harp, violoncello and contrabass (2016) (13')
“That Time” (text, Pablo Neruda) for soprano, alto flute, clarinet, violin, cello, piano and percussion from The Waters of Time cycle (2008) (7’)
“To Want” (text, Pablo Neruda) for violin, cello and piano from The Waters of Time cycle (2008) (3’)
“Twilight” (text, Edward Estin Cummings) for soprano, alto flute, clarinet, violin, cello, harp and percussion (2007) (12’)
“Without You” (text, Pablo Neruda) for soprano, flute, clarinet, violin, cello, piano and percussion from The Waters of Time cycle (2008) (3’)
"You, by my Side" (text, Pablo Neruda) for female voice, piano, drum set and cello from The Waters of Time cycle (2016) (6')
"Your Hand" (text, Pablo Neruda) for female voice, flute, violin and cello from The Waters of Time cycle (2016) (3')
“Collecting Winter” (text, Philip Levine) for tenor, vibraphone, piano and cello (5’) (in preparation)
Dream-Paths cycle (text, Ono No Komachi set in ancient Japanese) for female voice, piano/prepared piano, electric guitar and percussion (2014-2016) (25’)
“In the Weavings” (text, Pablo Neruda) for soprano, alto flute, clarinet, violin, cello, piano and percussion from The Waters of Time cycle (3-4’) (2008)
“In Widening Circles” (text, Rainer Maria Rilke, set in German) for soprano, keyboard instrument and sustaining instrument (6’) (2013)
“Its Whisper” (text, Pablo Neruda) for female voice, flute and clarinet from the Waters of Time cycle (3’) (2009)
“Take me In” (text, Jalāl ad-Dīn Muhammad Rūmī translated by Nader Khalili) for soprano, alto flute, French horn, harp, violoncello and contrabass (2016) (13')
“That Time” (text, Pablo Neruda) for soprano, alto flute, clarinet, violin, cello, piano and percussion from The Waters of Time cycle (2008) (7’)
“To Want” (text, Pablo Neruda) for violin, cello and piano from The Waters of Time cycle (2008) (3’)
“Twilight” (text, Edward Estin Cummings) for soprano, alto flute, clarinet, violin, cello, harp and percussion (2007) (12’)
“Without You” (text, Pablo Neruda) for soprano, flute, clarinet, violin, cello, piano and percussion from The Waters of Time cycle (2008) (3’)
"You, by my Side" (text, Pablo Neruda) for female voice, piano, drum set and cello from The Waters of Time cycle (2016) (6')
"Your Hand" (text, Pablo Neruda) for female voice, flute, violin and cello from The Waters of Time cycle (2016) (3')
DANCE
"Arcs" version for flute, clarinet, harp, piano, percussion, violin, cello and dancers (9') (2018)
“Flutter” for violin and harp (5’) (2017)
“Impulse” for flute, clarinet, percussion, violin, cello and dancers (10’) (2012)
"Insomnia" for violin, vibraphone and two dancers (3') (2018)
"Reach" for piano, percussion and solo dancer (3') (2018)
"Rise" for cello, piano and dancer(s) (3') (2018)
“Twilight” (text, Edward Estin Cummings) for soprano and alto flute, clarinet, violin, cello, harp and percussion (12’) (2007)
“Flutter” for violin and harp (5’) (2017)
“Impulse” for flute, clarinet, percussion, violin, cello and dancers (10’) (2012)
"Insomnia" for violin, vibraphone and two dancers (3') (2018)
"Reach" for piano, percussion and solo dancer (3') (2018)
"Rise" for cello, piano and dancer(s) (3') (2018)
“Twilight” (text, Edward Estin Cummings) for soprano and alto flute, clarinet, violin, cello, harp and percussion (12’) (2007)
SEMI-STAGED CHAMBER OPERA
Songs of Longing (text, Sappho) for three female voices and baroque chamber ensemble (20’) (2010)
FILM
489 Days soundtrack for string trio and percussion for a documentary by Rania Al Mulky (2019) (15')
Breaking the Code soundtrack for saxophone, guitars, bass guitar, piano, percussion, drumset for a feature film by Michael Flanagan (45')
Lines electronic soundtrack for a film by Sarah Carlson (2008) (3')
Breaking the Code soundtrack for saxophone, guitars, bass guitar, piano, percussion, drumset for a feature film by Michael Flanagan (45')
Lines electronic soundtrack for a film by Sarah Carlson (2008) (3')
MULTIMEDIA
"Elemental" for clarinet, harp, marimba, xylophone and violin for an augmented realty application with artwork by Jenny Okun
ARRANGEMENTS
"Joy to the World" for full orchestra to be accompanied by "Joy to the World" for SATB chorus by Lowell Mason (3') (2018)
"Nude" by Radiohead version for saxophone (soprano or alto), flute, clarinet, piano, drum set, violin and cello (4') (2007)
"Nude" by Radiohead version for female voice, flute, clarinet, piano, drum set, violin and cello (4') (2007)
"Nude" by Radiohead version for saxophone (soprano or alto), flute, clarinet, piano, drum set, violin and cello (4') (2007)
"Nude" by Radiohead version for female voice, flute, clarinet, piano, drum set, violin and cello (4') (2007)
CYCLES OF EXTRACTABLE WORKS
Between Darkness and Light cycle of works for French horn, strings and percussion (2009- ). When all of the works are performed on the same concert, they are programmed in the following order:
I) “Ethers” for horn, violoncello and percussion (7’)
I) “Inward” for string quartet (11’)
III) “Tranquil” for violin and violoncello (4’)
IV) “Deep” for solo contrabass (7') (in preparation)
V) “With Reverence” for solo horn, strings and percussion (in memoriam Gérard Grisey) (8’)
Dream-Paths cycle (text, Ono No Komachi set in ancient Japanese) for female voice, piano/prepared piano, electric guitar and percussion (25’) (2014-2016):
I) “On this Moonless Night”
II) “Without End”
III) “Feeling”
IV) “As I Dozed”
V) “Upon the Paths of Dreams”
VI) “Had I Known it for a Dream”
VII) “I would not have Awakened”
VIII) “It’s Over! Placing Burning Coals and Empty of Grain”
IX) “Visible Colors” (Invisible Passions)
X) Already Faded Away
Canticles from the Ends of the Earth cycle (text, passages from the bible, set in Latin)
I) "Creation: for orchestra (8')
II) "A Time for Everything" for SATB chorus (optional strings) (6')
III) “Hear my Voice for SATB chorus and string orchestra (10’)
IV) "Love is Patient" for SATB chorus and string orchestra (7’)
V-VI) “Odes of Praise” for SATB chorus and orchestral with optional organ hand bells (8’)
VII) "Eternal Light" for SATB chorus, harp, strings and bowed metal percussion (7')
Natura cycle of eleven extractable works ranging from solo instrument to full orchestra (1 hour) (2007-2017):
I) "Undercurrents" version for bass flute, contrabass clarinet, piano, percussion, violoncello and contrabass (6’)
II) "Rain Gardens" for piano (5’)
III) "Tendrils" for clarinet (note: "Rain Gardens" and "Tendrils" overlap when the whole cycle is performed) (5’)
IV) "Air" for woodwind quintet (5’)
V) "As if Snow" for piano, harp and percussion (8’)
VI) "In Stillness" for bass clarinet and string quartet (9’)
VII) "Murmur" for bass clarinet, bassoon, marimba and cello (6’)
VIII) "Branching" for flutes, clarinets, English horn, bassoon, French horn, piano harp, percussion, two violins, viola, violoncello and
contrabass (5’)
IX) "Moonlight, Refracted" for clarinet, two percussionists and piano (6’)
X) "Constellations" for piano, harp and percussion which, when succeeded by “Celestial Dawning,” gradually
transforms into a piece for full orchestra (6’);
XI) "Celestial Dawning" for full orchestra (9’)
The eleven pieces of the Natura cycle may be arranged and programmed in a number of ways. First and foremost, all of the works are extractable and may be performed individually. In addition, they may be programmed in a variety of combinations and sequences. The overarching macro-design for the cycle allows each work to seamlessly progress from one to the next in that each piece generally ends with the pitch or sonority on which the following piece begins. This remains true even when the cycle is arranged in different combinations and orderings. The possible design schemes are as follows:
I) “Ethers” for horn, violoncello and percussion (7’)
I) “Inward” for string quartet (11’)
III) “Tranquil” for violin and violoncello (4’)
IV) “Deep” for solo contrabass (7') (in preparation)
V) “With Reverence” for solo horn, strings and percussion (in memoriam Gérard Grisey) (8’)
Dream-Paths cycle (text, Ono No Komachi set in ancient Japanese) for female voice, piano/prepared piano, electric guitar and percussion (25’) (2014-2016):
I) “On this Moonless Night”
II) “Without End”
III) “Feeling”
IV) “As I Dozed”
V) “Upon the Paths of Dreams”
VI) “Had I Known it for a Dream”
VII) “I would not have Awakened”
VIII) “It’s Over! Placing Burning Coals and Empty of Grain”
IX) “Visible Colors” (Invisible Passions)
X) Already Faded Away
Canticles from the Ends of the Earth cycle (text, passages from the bible, set in Latin)
I) "Creation: for orchestra (8')
II) "A Time for Everything" for SATB chorus (optional strings) (6')
III) “Hear my Voice for SATB chorus and string orchestra (10’)
IV) "Love is Patient" for SATB chorus and string orchestra (7’)
V-VI) “Odes of Praise” for SATB chorus and orchestral with optional organ hand bells (8’)
VII) "Eternal Light" for SATB chorus, harp, strings and bowed metal percussion (7')
Natura cycle of eleven extractable works ranging from solo instrument to full orchestra (1 hour) (2007-2017):
I) "Undercurrents" version for bass flute, contrabass clarinet, piano, percussion, violoncello and contrabass (6’)
II) "Rain Gardens" for piano (5’)
III) "Tendrils" for clarinet (note: "Rain Gardens" and "Tendrils" overlap when the whole cycle is performed) (5’)
IV) "Air" for woodwind quintet (5’)
V) "As if Snow" for piano, harp and percussion (8’)
VI) "In Stillness" for bass clarinet and string quartet (9’)
VII) "Murmur" for bass clarinet, bassoon, marimba and cello (6’)
VIII) "Branching" for flutes, clarinets, English horn, bassoon, French horn, piano harp, percussion, two violins, viola, violoncello and
contrabass (5’)
IX) "Moonlight, Refracted" for clarinet, two percussionists and piano (6’)
X) "Constellations" for piano, harp and percussion which, when succeeded by “Celestial Dawning,” gradually
transforms into a piece for full orchestra (6’);
XI) "Celestial Dawning" for full orchestra (9’)
The eleven pieces of the Natura cycle may be arranged and programmed in a number of ways. First and foremost, all of the works are extractable and may be performed individually. In addition, they may be programmed in a variety of combinations and sequences. The overarching macro-design for the cycle allows each work to seamlessly progress from one to the next in that each piece generally ends with the pitch or sonority on which the following piece begins. This remains true even when the cycle is arranged in different combinations and orderings. The possible design schemes are as follows:
I) "Tendrils→Branching" clarinet concerto with “Tendrils” for solo clarinet followed by “Branching” for flutes, clarinets, English horn, bassoon, French horn, piano harp, percussion, two violins, viola, violoncello and contrabass;
II) "Murmur→Branching" for Skeletal Chamber Orchestra with “Murmur” for bass clarinet, bassoon, marimba and cello followed by “Branching” for flute, clarinet, English horn, bassoon, French horn, piano harp, percussion, two violins, viola, violoncello and contrabass;
III) From Natura piano sonata with “Undercurrents” version for solo piano followed by “Rain Gardens” for solo piano, “Moonlight, Refracted” version for solo piano and “Constellations” version for solo piano;
IV) Natura I with “Tendrils” for solo clarinet followed by “Air” for woodwind quintet, “In Stillness” for bass clarinet
and string quartet, “Murmur” for bass clarinet, bassoon, marimba and cello and “Branching” for flute, clarinet, English horn, bassoon, French horn, piano harp, percussion, two violins, viola, violoncello and contrabass;
V) Natura II with “Undercurrents” for bass flute, contrabass clarinet, piano, piano, percussion, violoncello and contrabass followed by “Rain Gardens” for piano, “As if Snow” for piano, harp and percussion, “Moonlight, Refracted” version for bass clarinet, harp, percussion and piano, “Constellations” for piano, harp and percussion and “Celestial Dawning” for full orchestra;
VI) Natura for Skeletal Orchestra with all of the pieces from the entire cycle except the three last pieces;
VII) Natura Complete for full orchestra with all eleven pieces in the order prescribed above.
II) "Murmur→Branching" for Skeletal Chamber Orchestra with “Murmur” for bass clarinet, bassoon, marimba and cello followed by “Branching” for flute, clarinet, English horn, bassoon, French horn, piano harp, percussion, two violins, viola, violoncello and contrabass;
III) From Natura piano sonata with “Undercurrents” version for solo piano followed by “Rain Gardens” for solo piano, “Moonlight, Refracted” version for solo piano and “Constellations” version for solo piano;
IV) Natura I with “Tendrils” for solo clarinet followed by “Air” for woodwind quintet, “In Stillness” for bass clarinet
and string quartet, “Murmur” for bass clarinet, bassoon, marimba and cello and “Branching” for flute, clarinet, English horn, bassoon, French horn, piano harp, percussion, two violins, viola, violoncello and contrabass;
V) Natura II with “Undercurrents” for bass flute, contrabass clarinet, piano, piano, percussion, violoncello and contrabass followed by “Rain Gardens” for piano, “As if Snow” for piano, harp and percussion, “Moonlight, Refracted” version for bass clarinet, harp, percussion and piano, “Constellations” for piano, harp and percussion and “Celestial Dawning” for full orchestra;
VI) Natura for Skeletal Orchestra with all of the pieces from the entire cycle except the three last pieces;
VII) Natura Complete for full orchestra with all eleven pieces in the order prescribed above.
Resonant Strands cycle of five extractable works drawn from the instrumentation: piano, bowed piano and string quartet (34’) When all of the works are performed on the same event, they are programmed in the following order (2005-2007):
I) “Emerge” for piano and bowed piano (5’)
II) “Of Resonance” for string quartet (9’)
III) “Opening” for solo cello (5’)
IV) “Increscent” for violin and piano (11’)
V) “Cadence” for piano, bowed piano, and string quartet (4’)
The Waters of Time cycle (text, Pablo Neruda set in Spanish) cycle of seven movements drawn from the instrumentation: soprano and flute, clarinet, violin, cello, piano and percussion (50’) (2007-2010):
I) "Of a River" for piano and violoncello (3')
II) “The Rose Garden” for voice, flute, violin, and violoncello (3')
III) “Its Whisper” for voice, flute, and clarinet (3’)
IV) “Without You” for voice, flute, clarinet, violin, violoncello, and percussion (4’)
V) “In the Weavings” for voice, flute, clarinet, violin, violoncello, and percussion (4’)
XI) “To Want” for voice and piano, violin, and violoncello (4’)
VII) “Close” for voice, and piano (4’)
VIII) "You by my Side" for voice, piano, drum set, and violoncello (7')
IX) “That Time” for voice and flute, clarinet, violin, cello, piano, and percussion (7’)
X) "Where Everything Waits" for piano, violin, and violoncello (5')
I) “Emerge” for piano and bowed piano (5’)
II) “Of Resonance” for string quartet (9’)
III) “Opening” for solo cello (5’)
IV) “Increscent” for violin and piano (11’)
V) “Cadence” for piano, bowed piano, and string quartet (4’)
The Waters of Time cycle (text, Pablo Neruda set in Spanish) cycle of seven movements drawn from the instrumentation: soprano and flute, clarinet, violin, cello, piano and percussion (50’) (2007-2010):
I) "Of a River" for piano and violoncello (3')
II) “The Rose Garden” for voice, flute, violin, and violoncello (3')
III) “Its Whisper” for voice, flute, and clarinet (3’)
IV) “Without You” for voice, flute, clarinet, violin, violoncello, and percussion (4’)
V) “In the Weavings” for voice, flute, clarinet, violin, violoncello, and percussion (4’)
XI) “To Want” for voice and piano, violin, and violoncello (4’)
VII) “Close” for voice, and piano (4’)
VIII) "You by my Side" for voice, piano, drum set, and violoncello (7')
IX) “That Time” for voice and flute, clarinet, violin, cello, piano, and percussion (7’)
X) "Where Everything Waits" for piano, violin, and violoncello (5')