(2011) for orchestra
NYU Symphony Orchestra; Ari Pelto, conductor
com-pres-sion /kəmˈpreSHən/ noun
1. A force exerted upon a sound which causes it to transform either through duration, volume, or timbre.
2. The process by which an instrumental medium may transmit such ideas of constriction and expansion, in terms of its: a) harmonic/melodic material, and: b) spatial density and awareness.
(2013) for string trio
Maya Bennardo, violin; Hannah Levinson, viola; Mariel Roberts, cello
PUSH past through beyond. PUSH from to toward. PUSH against. PUSH hard. harder. keep PUSHing. PUSH again. and again. PUSH despite. PUSH because. PUSH in the face of. don’t stop PUSHing.
sums of parts
(2011) for woodwind quintet
Washington Square Winds: Caryn Freitag, flute; Phil Rashkin, oboe; Elyssa Plotkin, clarinet; Annamaria Kis-Ven, bassoon; and Casey Cronan, horn
During the initial stages of writing “Sums of Parts,” I saw a performance of an opera featuring a gamelan orchestra performing side-by-side with contemporary instruments. I was fascinated with the complex interlocking elements and evolving patterns, as well as the sudden unexpected moments when everything would coalesce. I became transfixed with the idea of creating music that was somehow greater as a whole than the sum of its parts.
(2013) for violin and viola
andPlay duo: Maya Bennardo, violin; Hannah Levinson, viola
"While small anchors are designed to be lifted vertically, strong currents can cause the anchor to drag or catch. If pulled from the side during such currents, an anchor will resist the pull and may bury itself further. In a worst-case scenario, this could cause the cable to break or the ship to founder."
sample music for wind instruments
(2009) for wind ensemble
The Manhattan Wind Ensemble, Chris Baum, Conductor.
The idea that served as inspiration for the composition of Sample Music is the way samples of sound are used – often by repeating, reusing, and rearranging music in various ways– in the construction of popular music. The entirety of this piece is derived from the repetition of a few very tiny fragments of music continually recombined in new ways to create a large-scale work.
a fundamental groundlessness
(2012) for chamber ensemble
NYU Contemporary Ensemble: Anne Dearth, flute; Samuel Marques, clarinet; Jeremy Lowe and Shaun Gallant, percussion; Jeff Lankov, piano; Patti Kilroy, violin; Yu Chieh Lee, viola; Jui-Hsien Hung, cello; Pat Swoboda, bass; and Jonathan Haas, conductor
“Underneath our ordinary lives, underneath all the talking we do, all the moving we do, all the thoughts in our minds, there’s a fundamental groundlessness . . . all the stuff that comes out and expresses itself as uptight, controlling, manipulative . . . underneath all that, there’s something very soft, very tender.” Pema Chödrön, When Things Fall Apart.
(2011) for string quartet
JACK Quartet: Christopher Otto and Ari Streisfeld, violins; John Pickford Richards, viola; and Kevin McFarland, cello
“. . . Heavy banners unfurled, their emblems of origin long since faded. They hung limp in the motionless air, tired even before the commencing of the long march. Then, with only the slightest of signals, the banner-posts were hoisted. Clouds of dust arose from the earth as leaden feet moved slowly forward. The Procession had begun.”
(2012) for violin, guitar, and alto saxophone
East Coast Contemporary Ensemble/Ensemble L'arsenale: Marco Fusi, violin; Lorenzo Tomio, guitar; Mary Joy Patchett, alto saxophone
"It seemed that our worlds were destined for eternal synchronization, but time revealed a different truth. Eventually our orbit unraveled, and we made a concession – not necessarily to admit defeat – but to embrace our own trajectories."
(excerpts, 2010) for orchestra
Brooklyn College Orchestra, George Rothman, conductor
From a reading session, 2010.
(2009/rev. 2011) for flute quartet
Samantha K. Enriquez, Sam Teuring, Ashley Williams, and Yoobin Whang
“Et les rues de Londres
Souffleront sur des mystères
D'une autre fois...”