Vocal:
Third-Millennium Heart, for soprano and ten instruments, 2022, 50’
written for Mellissa Hughes, Yarn/Wire, and members of Imani Winds and the Ciompi Quartet, Verena Mösenbichler-Bryant, conductor
Your Plaintive Anthem, for soprano, flute, bass clarinet / clarinet, piano, violin, viola, and cello, 2018, 12’
The Sea Called, for treble vocal ensemble, 2018, 5'
written for the Lorelei Ensemble
Prelude to Water Melody, for soprano, suona, erhu, pipa, guzheng, and piano, 2017, 6'
Separate Realities, for soprano, viola, and fixed electronics, 2016, 18'
written for Stacey Geyer and Stephanie Griffin
awarded honorable mention in the 2017 Brian M. Israel Prize
Love's Lost Words, for mezzo soprano, cello, and piano, 2016, 9'
written for Lindsay Brown
Vhev, for 2 sopranos, 2 altos, tenor, 2 baritones, and bass, 2015, 5'
written for Roomful of Teeth
Electronic and Installation:
Semi-Concerto, for violin and electronics, 2024, c. 15’
forthcoming work for Kate Dreyfuss, violin
Her Spine, The Mountains, for electronics, 2023, 5’
score for film by movement artist Waeli Wang
The Choreography of CRISPR, for electronics, 2022, 12’
installed as a dance film in the MIT Museum through Fall 2024
Fragments Cast in Bronze, for flute and electronics, 2021, 10’
written for Alex Sopp
5x8, for electronics, 2020, 5’
commissioned by Works & Process at the Guggenheim for their Virtual Commissions series
choreographed and performed by Gabrielle Lamb
Plexus: a work in knots, for electronics (with optional live violin), 2020, 55’
evening-length work, commissioned by Pigeonwing Dance and Gabrielle Lamb, Artistic Director
score underwritten by the Charles and Joan Gross Family Foundation
White Stone (after Agnes Martin), for violin and electronics, 2019, 10’
Pachelbel’s Garden, interactive installation, 2019
Deconstruction, for two percussionists and electronics, 2019, 10’
Separate Realities, for soprano, viola, and fixed electronics, 2016, 18'
Chamber:
TAUTOLOGY, for string quartet, 2021, 10’
written for the Ligeti Quartet
Apoksiomen, for flute, guitar, viola, and cello, 2021, 10’
commissioned by Ensemble Illyrica, and premiered in Croatia, Summer 2021
performed by Ensemble Illyrica in Croatia, Austria, Czech Republic, Ireland, and Slovenia
Rotation Study, for string quartet, 2020, 5’
commissioned by the Ciompi Quartet, designed for socially distanced / remote performance
A Late Frame, for two percussionists and two pianists, 2019, 8’
written for the 2019 Yarn/Wire Institute
Deconstruction, for two percussionists and electronics, 2019, 10’
Lines, Breaks, and Spaces, for string quartet, 2019, 22’
written for the JACK Quartet
Flatlands, for tenor sax, vibraphone, piano, and electric guitar, 2018, 7'
written for Hypercube
Fractured Matter, for clarinet, percussion, and violin, 2018, 6'
written for F-PLUS
Evening, in the Open Air, for flute, clarinet, vibraphone, piano, violin, and cello, 2017, 8'
written for the 2017 Norfolk New Music Workshop
selected for the 2018 Mise-En New Music Festival
Embrace, for flute, guitar, and violin, 2017, 3'
other instrumental combinations available
Khalseh, for mallet sextet, 2017, 5'30"
Nothing Gold Can Stay, for 2 percussionists and 2 pianists, 2016, 11'
written for Yarn/Wire
Choral:
Peace, O Lord, for TTBB choir, 2018, 4'
commissioned and recorded by the St. Vladimir's Seminary Octet, conducted by Robin Freeman
also available for SATB choir
The Divine Image, for women's choir, SSA, 2017, 3'
Magnificat, for Soprano and Tenor soloists, SATB choir, and organ, 2015, 5'
On a mountain, for SATB choir, 2014, 3'
Large Ensemble:
Tiled Fields, for chamber orchestra, 2019, 10’
commissioned by the Raleigh Civic Chamber Orchestra and Peter Askim, conductor
2.2.2.2 - 2.2.0.0 - 2 perc - pno - str
Only Breath, for string orchestra, 2018, 8'
written for the 2018 Next Festival for Emerging Artists
Solo and Duo:
Fragments Cast in Bronze, for flute and electronics, 2021, 10’
White Stone (after Agnes Martin), for violin and electronics, 2019, 10’
Deconstruction, for two percussionists and electronics, 2019, 10’