Enough (2018) was written for the mixed quartet Front Porch and explores the concept of “enough.” As musicians, we ask ourselves “Is this enough?” in a multitude of specific situations: “Is it loud/soft/high/low/long/short/etc. enough?” More largely, as human beings, we ponder our purpose in life, the things that fulfill us, and the actions we take, all in the name of what is or could be “enough” for us. The piece examines these questions on both a musical and extra-musical level as the quartet investigates what is enough—technically, stylistically, and emotionally.
Speak (2019), written for percussionist Conner Darling, is a piece about communication and wanting to be heard. Based on the Morse code pattern for "Conner," the performer "speaks" his name throughout the work in many different variations and connotations— whispering, conversing, shouting. Speak asks of the audience: am I being heard? Am I helping others speak their truth?
Blaze (2019) is a piece about passion and perseverance, invoking these qualities through the imagery of fire— dancing flame or roaring inferno. The work is one of determination, of never giving up, of hope and strength to continue onward and upward. Thank you to the University Philharmonia Orchestra at the University of Michigan and conductor Tal Benatar who premiered Blaze on February 20, 2019.
Anonymous Woman (2018) was written for NYC-based vocal ensemble Khorikos and utilizes a quote attributed to Virginia Woolf as its text: "For most of history, Anonymous was a woman." The work was premiered at National Sawdust in Brooklyn, NY.
Self-Talk (2018) is a piece about the stories we tell ourselves—our inner voice, our commentary on our own actions and emotions. Each movement is a different manifestation of self-talk. The first movement, “Fable,” describes an instance where the protagonist learns about themselves over time through trial and error. The rhythmic material of this movement was derived from a line of Jim Harrison’s poetry: “I was a fable to myself.” The second movement, “Transformation,” describes a person’s shifting perspective over time, which parallels the transformations of the melody after each musical interruption. The final movement, “Pursuit,” propels the protagonist toward a pre-determined goal with a few unexpected turns along the way.
I Could Fall (2016) is about the evolution of trust. The piece is marked “freely” so that the performers may make decisions on the evenness or unevenness of tempo and phrasing, a microcosm of changing human emotion, whether toward oneself, another individual, or the situation at hand. Thank you to the Dulciana Vocal Ensemble of Dublin, Ireland for premiering this work.