I want my music always to be telling a cohesive story of some kind. My melodies and rhythms often tend toward sensations of speech patterns or bodily motions. I use many tiny rhythmic details and also a microtonal language of twelfth-tones, sixth-tones and quarter-tones. I have always been compelled by the possibility that these interval combinations can have their own distinct musical identities—for example this ex1 or this  ex2 or this ex3. I am excited by the expressive power such intervals can have in melody and harmony, and by their ability to form melodic contours that feel natural and nuanced.




image00110Sunday, September 23, 2018, 2pm
Pickman Hall, 27 Garden St., Cambridge
Admission free
Loadbang ensemble performs my 2011 arrangement of the song “The More I See You” (Harry Warren and Mack Gordon) at Longy School of Music of Bard College.


IMG_9762Monday, October 3, 2018, 7pm
David Friend Recital Hall, 921 Boylston St., Boston
Sunday, February 3, 2019, 3pm
Traina Center for the Arts, 92 Downing St., Worcester
Tuesday, March 26, 2019, 7pm
Point01Percent Series at the Lilypad, 1353 Cambridge St, Cambridge
Multiple performances this season of Kaspoleo Melea (I will lay down my limbs), a new work on ancient Greek erotic poems for female voices. Sopranos Rose Hegele and Stephanie Lamprea perform with contralto Mara Goldberg on October 3 preview performance, and with mezzo-soprano Katherine Growdon on February 3 premiere and March 26 repeat performance.


Sunday, March 10, 2019, 7pm
Glitterbox Theater, 460 Melwood Ave, Pittsburgh
Soprano Anna Elder performs my song “The Air You Breathe”—from a cycle I wrote in the 1990s on poems of Dylan Thomas. Part of Ensemble Kamratōn’s She Scores series.



10008982_Das Fremde Kind-1I am collaborating with writer Kim Adrian on a chamber opera based on E.T.A. Hoffmann’s little-known fairy tale The Strange Child, for Pittsburgh’s Kamratōn ensemble. Work began in summer 2018, and performances are planned for May 2021 in Pittsburgh.





keyspace“He knew that even the memory of the piano falsified still further the perspective in which he saw the elements of the music, that the field open to the musician is not a miserable scale of seven notes, but an immeasurable keyboard still almost entirely unknown on which, here and there only, separated by shadows thick and unexplored, a few of the millions of keys of tenderness, of passion, of courage, of serenity which compose it, each as different from the others as one universe from another universe, have been found by a few great artists who do us the service, by awakening in us something corresponding to the theme they have discovered, of showing us what richness, what variety, is hidden unbeknownst to us …”

-Marcel Proust (translated by Lydia Davis)