“Germinate” – for piccolo/flute, bass clarinet, violin, cello, piano, and percussion (2019)

Performed by Conference Ensemble: Barry Crawford (flute/piccolo), Benjamin Finland (bass clarinet), Adda Kridler (violin), Chris Gross (cello), Steve Beck (piano), Matthew Gold & Alex Lipowski (percussion), and James Baker (conductor) on August 1st, 2019, at the 75th Composers Conference

“Incredulous” – for alto flute, bass clarinet, horn, violin, viola, cello, double bass, piano, and percussion (2018)

Performed by Ensemble Échappé and conductor Jeffrey Milarsky on March 18, 2018, at the American Academy of Arts and Letters

“In Thin Air”  – for violin, piano and percussion (2012)

written for Dinosaur Annex Music Ensemble

performed by Gabriela Diaz, violin, Donald Berman, piano and Robert Schulz, percussion

“Resurfacing” – oboe, bass clarinet, violin & cello (2022)

Commissioned by Winsor Music

Performed by Winsor Music

“Binge Delirium” – for solo percussion (2007)

Commissioned by Chris Froh

Performed by Chris Froh, percussion

Binge Delirium was written with the intension to showcase percussionist Chris Froh’s extraordinary musicianship.  Though scored for non-pitched percussion instruments only, it is melodic and contrapuntal, and demands a high level of technical skill.

“Mind Like Water” – for string quartet (2016)(2021 revision)

written for Lydian String Quartet

“Alter Ego” – for cello solo (2019)

Commissioned by the Walter W. Naumburg Foundation

Performed by Rhonda Rider, cello

“Mind Stretch” – for piano solo (2021)

Commissioned by pianist Jihye Chang for her Boston Etudes Project

Performed by Jihye Chang, piano

“A Long Overdue Sequel” – for solo percussion (2015)

written for Robert Schulz, in celebration of Eric Chasalow’s 60th birthday

Performed by Robert Schulz on October 24, 2015

“Intersect” – for flute/bass flute, clarinet/bass clarinet, violin, cello and piano (2014)

Commissioned by ECCE

Performed by the ECCE on May 15, 2014

“At the Brink of the Chill” – for violin, viola, cello, double bass, and piano (2009)

Commissioned by the Koussevitzky Music Foundation and the Left Coast Chamber Ensemble

Performed by Left Coast Chamber Ensemble – San Francisco, May 2009
MOVEMENT I

MOVEMENT II

MOVEMENT III

I began writing this piece in a most glorious day in Fall 2008 during my residency at the Copland House in the Hudson River Valley, when the fall foliage was at its peak. The second movement, which was actually composed first, is the contemplative reflection of my being in such a surrounding. On the other hand, the first movement, with a more jovial and lively character, is a portrayal of my heightened excitement while driving down the highway from Boston to the Hudson River Valley. However, all of these splendors soon died down, turning into a lusterless sight in less than a week’s time, surely to be followed by a long, bitter winter. This sudden change is reflected in the third movement with its stark dreariness.

“Rhetorical Flourishes” – for soprano, viola, clarinet/bass clarinet, and percussion (2010)

Commissioned by the Monadnock Music Festival

Performed by Tony Arnold, soprano; Louise Schulman, viola; Jean Kopperud, clarinets; Dominic Donato, percussion; James Baker, conductor – Wellesley, July,  2011

I. Oh! On an April Morning (3’15”)

II. Let’s Hear It  (5’39”)

Rhetorical Flourishes is a set of songs using three poems by Neil Shepard: Oh! On an April Morning, Let’s Hear It, and Empiricist of Clouds.  It was written for soprano Tony Arnold, who gave the premiere in August 2010 at the Monadnock Music Festival.

“When the Wind Comes, the Grass Bends” – for string quintet (2 violin, viola, and 2 cellos) (2011)

Commissioned by the Lydian String Quartet

Performed by the Lydian String Quartet and cellist Rhonda Rider

movement 1 of 3 (3’04”)

“Flicker” – for violin, cello and piano (2008)

Commissioned by the Triple Helix Piano Trio

Performed by Curtis Macomber (violin), Chris Finckel (cello) and Stephen Gosling (piano)

Flicker is a short piece inspired by Mozart’s “Die Zauberflöte as part of Triple Helix’s Mozart Project.

“Shadow Chase” – for string quartet (2003)

Commissioned by the Left Coast Chamber Ensemble

Performed by LCCE

Upon the request of LCCE, Shadow Chase was written as a 21st century reflection of Beethoven’s String Quartet in c# minor, op. 131. Recording is included on LCCE’s “San Francisco Premieres” CD album.