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Works

There are few things more exhilarating than watching a new piece of music come to life, be that through a close collaboration with a friend or through a consortium commissioning process. Thanks for taking the time to see what I've been creating! 

 

Recordings and videos are linked below. If you're interested in purchasing a score or collaborating, I'd love to hear from you via email.

— Gala

Large Ensemble

 

Bravado (2023) for orchestra | 3' | written for the Tanglewood Music Center Orchestra

Vitality (2022) for orchestra | 6' | written for the Aspen Music Festival and School

The Bird-While (2022) concerto for solo flute, clarinet, violin, cello and symphonic winds | 18' | commissioned by Hub New Music

Persist (2020) for two sopranos and chamber orchestra | 6' | commissioned by the Albany Symphony

Visible Nature (2020) for concert band | 5’ | commissioned by John Hart and the Keene State College Concert Band

Abundant Music (2017) for combined string orchestra, band, and choir | 6’ | commissioned by Nonnewaug High School

 

How to Become (2016) for orchestra | 7’30”

 

Chamber Music

Burn as Brightly (2023) for violin and cello | 3' | written for the Tanglewood Music Center Piece-a-Day Project

Wishes and Warnings (2023) for violin and viola | 3' | written for the Tanglewood Music Center Piece-a-Day Project

Asphodel (2023) for flute and clarinet | 3' | written for the Tanglewood Music Center Piece-a-Day Project

Until My Last Breath (2023) for horn soloist and horn sextet | 8' | commissioned by Brett Hodge and Horns of the Heartland

E Pluribus Unum (2023) for violin and viola | 8' | commissioned by Matt Albert

Memory Home (2023) for tenor trombone and piano | 5'30" | commissioned by Rich Williams

Sweet Nothings (2023) for alto saxophone and piano | 10' | commissioned by Connor O'Toole and a consortium of 17 saxophonists

Graphic Climate (2023) for open instrumentation | open duration | commissioned by Krista Kopper

How Vast (2022) for tenor voice, flute, clarinet, violin, cello, piano, and percussion | 8' | commissioned by the Virginia Tech Department of Music, Derek Shapiro, conductor

Outer Voices (2022) for soprano saxophone and piano | 5'30" | commissioned by Zach Arthur

Miss Minutes (2022) micro-concerto for percussion with flute, clarinet, piano, and string quartet | 8' | commissioned by the Aspen Music Festival and School

Where the Boats Go (2022) for horn and piano | 5' | commissioned by Cay Cummings in memory of Marina Krol Hodge

The Parting Glass (2022) for horn choir | 4' | arrangement commissioned by Brett Hodge and Horns of the Heartland

Candlewood (2021) for soprano saxophone and piano | 8' | commissioned by Jeff Siegfried

A Crab, A Quill (2021) for trombone and piano | 3'30" | commissioned by Diversify the Stand for Winds of Change

Mother Time, Father Nature (2021) for bassoon and piano | 7' | commissioned by bassoonists Joseph Swift (consortium director), Aislinn Bailie, Conor Bell, Mathieu Harel, Vincent LaMonica, Natalie Law, Frank Morelli, Leigh Muñoz, and Ben Roidl-Ward

A Crab, A Quill (2021) for trumpet and piano | 3'30" | commissioned by Diversify the Stand for Winds of Change

Comments by Computers (2021) for trombone and piano | 10' | arrangement commissioned by Chris Hernacki

Breathing Light (2021) for flute, clarinet, violin, and cello | 6' | commissioned by Hub New Music and the Peabody Essex Museum

Burning Day (2021) for violin and viola | 6'30" | arranged for Blythe Allers

Shadow Song (2020) for horn and trombone | 3' | commissioned by Phillip Claassen

Matriarch (2020) for wind quintet | 7'30" | commissioned by the Michigan Music Teachers Association and the Music Teachers National Association | written for Pure Winds

Matriarch was selected as a Score Follower video in 2023! View it here.

Burning Day (2019) for two alto saxophones | 6’ | commissioned by Giovanna Virgil and Duo TPK

Dabble (2019) for saxophone quartet | 5’ | commissioned by Sinta Quartet

 

Breathing Underwater (2019) for euphonium, tuba, and piano | 5’30” | commissioned by Conviviality Trio

 

Enough (2018) for violin, bassoon, piano, and percussion | 6’ | written for Front Porch

 

Self-Talk (2018) for oboe, clarinet, alto saxophone, bass clarinet, and bassoon | 11' | written for Vanguard Reed Quintet

 

Kenopsia (2018) for piano trio | 4’

 

Scarlet (2017) for alto saxophone and bassoon | 4’ | written for Xelana Duo

 

To See a World in a Grain of Sand (2017) for trumpet and horn | 3’ | written for Marina Krol and Evan Roberts

 

Seasons (2016, rev. 2017) for open instrumentation | 10’+

 

In a Past Life (2016) for flute, clarinet, violin, cello, and piano | 6’

 

Duet (2016) for horn and alpine horn | 9’

 

Dear Johanna (2016) for trumpet and alto saxophone | 3’ | written for Performance 20/20

 

Virginia Audience (2016) for horn, tuba, and piano | 15’ | commissioned by Kayla Davis and the Women’s Advancement Initiative

 

All Lines From Lead To (2016) for two flutes | 6’

 

Bizarre Barbershop (2015) for horn quartet | 2’30”

 

Citrine (2014) for clarinet and ukulele | 2’

Voice and Choir

Flower Chant (2023) for treble choir | 4'30" | commissioned by the Young New Yorkers' Chorus, Alex Canovas, conductor

Watch Me (2023) for low voice choir | 4' | commissioned by the University of Michigan Men's Glee Club, Mark Stover, conductor

Ask the Orange (2022) for SATB choir | 5' | written for the 2022 Seraphic Fire Professional Choral Institute

A New Pledge of Allegiance (2022) for mezzo-soprano and piano | 4'30" | written for Valérie Filloux

Caro mio ben (2022) for high voice and piano | 3' | arrangement commissioned by Jaime Sharp

The New Colossus Songs (2021) for mezzo-soprano and piano | 8' | commissioned by Samantha Williams

Chloe Summers (2019) for soprano voice and alto saxophone | 5’ | written for Hayley Boggs and Jeff Siegfried

 

Anonymous Woman (2018) for SSAATTBB choir | 4’ | written for Khorikos

 

Amid a Crowd of Stars (2017) for mezzo-soprano, horn, and piano | 4’

 

I Could Fall (2016) for treble choir or three treble voices | 2’30”

 

Comments by Computers (2016) for mezzo-soprano and piano | 10’

 

If I (2015) for soprano and piano | 3’30”

 

The Parting Glass (2014) for SATB choir | 4’

 

Snow Whispers (2013) for SSAATTBB choir | 3’30”

Solo

Moon Dream (2022) for solo horn | 2' | arrangement commissioned by Dominic Hayes

Shadow Land (2020) for solo cello | 2' | commissioned by Nick Photinos as part of the Georgia Run-Off Commissioning Project

Moon Dream (2020) for solo soprano saxophone | 2' | commissioned by Latitude 49

Fake Smile (2020) for solo flute | 4'

Interferences (2020) for piano | 7’ | commissioned by Melissa Coppola

Fragile Goods (2019) for solo percussion | 5’ | written for Danielle Gonzalez and DAMET Percussion

 

Where You Are Now (2019) for solo bassoon | 6’ | written for Aviva Klein

 

Prophecy (2019) for solo alto saxophone | 5’

 

Speak (2019) for solo percussion | 5’ | written for Conner Darling

 

Precious Metals (2019) for solo percussion | 5’30” | written for Danielle Gonzalez and DAMET Percussion

 

Prophecy (2018) for solo horn | 5’ | written for Marina Krol

 

See What You Do (2017) for solo flute | 3’30”

 

Fake Smile (2016) for solo alto saxophone | 4’ | commissioned by Maggie Weisensel

 

Midwinter Waltz (2015) for solo piano | 2'

Opera, Theatre, and Film

 

Interlude and score for "Wednesday," and "Thursday" of Buster Keaton's One Week (2023) | written for the 2023 Tanglewood Music Center Live Film Score Night | Boston Globe write-up: "From Berlioz to Buster Keaton, a busy weekend at Tanglewood"

Reap What You Soul (2021) | one-act comedic opera | commissioned by Promenade Opera Project

in private public (2021) | film and installation | collaboration with Sean Hoskins

Score for Break a Leg (2018) | short film

 

Incidental music for Metamorphoses (2016) | theatre

 

Incidental music for The Life and Adventures of Nicholas Nickleby (2015) | theatre

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