Works for accompanied soloist
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Sonata Pulse, for oboe and piano
Titled for the frequent shifts in metric accent over a consistently driving pulse, Sonata Pulse takes the listener on a riveting journey through the realm of virtuosic oboe and piano performance. The piano functions more like a second soloist, rather than a traditional accompaniment, as a constant dialogue between oboe and piano persists throughout. |
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Introduction and Chaconne, for cello and piano
The form of this piece was inspired by other works of a similar same (e.g. Introduction and Allegro in C by Chopin, Introduction and Allegro from Wernick's String Quartet No. 4, Introduction et "Théme" by Stockhausen), but this accessible duo has a melodic and harmonic structure that appeals to even the most novice listener. Through repetition and gradual dynamic and textural change, the chaconne builds to an invigorating finale. |
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Works for trio
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Trio, for clarinet, cello, and piano
Trio plays with a simple idea that is first stated in the opening measures and repeated in various ways throughout. After a moderate introduction that lasts for about one and a half minutes, the cello enters with the first theme. What is unique, and somewhat unconventional, about this largely disjunct theme is that it is performed almost entirely pizzicato, creating a pleasant and relaxing groove between the cello and piano. The pizzicato cello theme is in two parts, interrupted by a short, syncopated statement by all. There is a slow section in the middle of the piece, one that is to be played freely by the cello and clarinet, not constricted by meter, and written in a minor mode. This is in stark contrast to a piece that is otherwise very lively and high-spirited. Following this slow section, the performers softly come back with the simple idea at its original tempo and soon fall into a steady groove that features virtuosic figures in the clarinet. There is a steady rise in dynamics and harmonic rhythm from this point to the end of the piece. It ends on a high note; no pun intended. The piece has a jazzy quality overall. I grew up listening to composers like Leonard Bernstein and Samuel Barber and performers like Wynton Marsalis and Jaco Pastorius. Although the notes now inhabit their permanent place on the page, It is my hope that they reflect the improvisatory nature in which the piece was composed. |
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Works for quartet
Our Beautiful Nation, for string quartet
The first three movements of this piece follow a traditional fast-slow-fast structure and regularly develop unique ideas through various transformations. The final movement begins with its own theme played all in pizzicato by the two violins, viola, and cello. When it begins to slow down, the movement one theme comes back inverted and transformed in rhythmic augmentations. Statements of this theme continue to get longer as they become prolonged pedal tones and cover tones in the texture. A hymn tune serves as an extra-musical connection to my inspiration, "For the Beauty of the Earth." In a final nostalgic gesture, the quartet returns to pizzicato and recaps fragments of themes from the three prior movements in the work. These three themes are separated by returns to the pizzicato material that began the final movement. |
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Works for chamber ensemble
Dancing Water, Swimming Shadows
for violin, clarinet, marimba, vibraphone, tambourine, piano, and soprano voice The text comes from a set of poems written by thirteenth-century poet and Sufi mystic Jalāl ad-Dīn Muhammad Balkhī Rumi entitled An Nur (Light). Following Rumi’s lead in An Nur, in which light serves as a primary theme, this composition is organized through a metaphorical experience of moonlight and sunlight, beginning at predawn and ending at sunset. It is my hope that the transformation of light portrayed in this cycle might also offer the listener a parallel to the transformation of the human soul during spiritual growth. |
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