Cambiando Paisajes (Shifting Landscapes) (2003, rev. 2017) 9’
Piano & 2 Percussionists
Commissioned for pianist Teresa McCollough by Santa Clara University.
Premiered April 25, 2003 at Santa Clara University, California.
Do Not Go Gentle (1993) 13’
Two Pianos.
Premiered by Amy & Sara Hamann at the University of Minnesota.
Winner 1994 ASCAP Grant to Young Composers.
The Far Field (1997) 22’
Text by Theodore Roethke, for High Voice, Clarinet & Piano.
Premiered by Elizabeth Farnum, Dennis Joseph & Charles Tauber at NYU.
Fist Through Traffic (1993) 8’
Three Movements. Alto Saxophone & Percussion Ensemble
Premiered by Richard Dirlam & the University of Minnesota Percussion Ensemble, Fernando Meza, Director.
for the straight way was lost (2002) 8’
Duet for single-reed wind (Clarinet/Bass Clarinet/Alto Sax) and lower stringed instrument (Viola or Cello)
Commissioned and premiered by Darkwood Consort, Boise, Idaho.
From the Faraway Nearby Six Movements, (1998) 20’
Two Guitars.
Premiered at Weill Recital Hall and recorded by the Goldspiel-Provost Classical Guitar Duo.
From the Faraway Nearby, Six Movements, (2006) ca. 20’
Piano Four Hands.
Premiered by Hugh Sung and Walter Cosand, at Arizona State University, November 2006.
Habañera/Carmen Fantasy (2008) ca. 3’30”
An arrangement for Viola and Cello, with additional optional Flute melody, of the Habañera from Bizet’s opera, Carmen, using Pablo Sarasate’s Carmen Fantasy for Violin and Piano as a starting point .
Heart! We will Forget Him! (1991) 8’
Text by Emily Dickinson, Soprano & Piano.
Premiered by ToniAnn Notarfrancesco & Kee Poh Lim at Queens College.
How Do I Love Thee? (2000) 4’30”
Text by Elizabeth Barrett Browning, for High Voice, Clarinet or Violin & Piano.
A co-commission and premiere by The Lark Ascending, Nancy Bogen, director, and the Lyric Arts Trio.
Murmuring in Comala (2006) 4’
Piano.
Commissioned by Ana Cervantes as part of a multi-composer project celebrating the work of
Mexican author Juan Rulfo.
Premiere at 34th Festival Internacional Cervantino, October 2006.
Nightsongs (2007) 9’
Clarinet and String Quartet
Premiered by The Griffin Ensemble at Liepāja Symphony Concert Hall, May 2007.
Panta Rei (1997) 8’
Saxophone Quartet or Clarinet Quartet.
Premiered by the Amherst Saxophone Quartet in Buffalo, New York.
The Persistence of Past Chemistries (1998) 9’15”
Percussion Quartet.
Commissioned by Ethos Percussion Group under the auspices of the Jerome Foundation.
Premiered at Weill Recital Hall.
Recording by Ethos Percussion Group.
Pietà (1997) 4’
Text by Rainer Maria Rilke, for Alto, Cello & Organ.
Commissioned by Holy Family Church, Queens, NY, Jane Lawson, director.
Samba Variations (2022) 7’
Clarinet and Guitar
Premiered by the Jessica Speak, clarinet, and Troy Gifford, guitar, at the Timucua Arts Foundation, Orlando, FL
Set fire to have light (2004) 10’
String Quartet
Premiered by the Barbad Chamber Orchestra, Ramin Heydarbegyi, Director, at Christ & St. Stephen’s Church, NYC.
Shifting Coastlines (2000) 30’
Texts by Charles Simic; John Sokol; Ralph Burns; Howard Nemerov; Albert Goldbarth; Ronald Wallace
Medium High Voice & Piano.
Collaboration with the amazing visual artist Karen Fitzgerald.
Commissioned by Goliard Concerts with funding from the Greenwall Foundation and the Queens Council on the Arts, for their annual concert series and Southeastern Festival Tour.
So, We’ll Go No More A-Roving (1999) 3’30”
Text by Lord Byron, for High Voice & Piano (w or w/out Clarinet).
Commissioned by The Lark Ascending, Nancy Bogen, director.
Three Miniatures (1993) 8’
Wind Quintet.
Premiered by the North Woods Quintet in Minneapolis.
Twisting Magnetic Spins (2005) 7’
Percussion Ensemble – 7 players.
Commissioned and premiered by the University of North Texas Percussion Ensemble, Mark Ford, Director.
Two Songs from a Sinking Ship (2020) 9′
Soprano and Piano
Poetry by Ariel Francisco. Composed as part of a collaborative project between Central Florida Composers Forum and Burrow Press.
Vernacular Dances (1996) 12’30”
Piano.
Premiered by Perry Townsend at Steinway Hall.
Recorded by Tomoko Deguchi for Capstone Records.
Recorded by Teresa McCollough for Innova Records.