Chamber Works

Premiered in Spring 2024 at The Blake Project, a Catholic University of America Composition Department concert:

• Emma Markey, voice

• Balance Campaign, ensemble

Composer Note:

In this setting of William Blake's poem "The Sick Rose," the vocalist portrays a young individual writing a letter to Rose, their friend and love interest. The writer wishes to warn Rose that the man she is currently in a relationship with is not good for her, but as the piece continues the young writer becomes increasingly bitter and resentful, beginning to exaggerate wildly. Many harmonies and motifs in this piece are taken from Edward MacDowell’s To a Wild Rose, which also inspired the title; although Blake’s text may be used to describe Rose and her relationship, To A Sick Rose is really about the young person portrayed by the vocalist and how this young person’s letter, distorted like MacDowell’s beautiful musical material, reflects their inner turmoil. 

Text by William Blake, public domain. 

Film Score of Crossing Ice Bridge at Niagara Falls, public domain.

Premiered in Spring 2023 by Maestro Andrew Earle Simpson and ensemble Balance Campaign at The Magic Camera, a Catholic University of America Composition Department concert in collaboration with the Library of Congress.

Composer Note:

The main focus of my score is the contrast between the bleak winter imagery and the lively human activity as the camera completes a 360°+ pan. 

Read in Spring 2025 by Grammy-winning Akropolis Reed Quintet:

• Tim Gocklin, oboe

• Kari Landry, b-flat clarinet

• Andrew Koeppe, bass clarinet

• Matt Landry, alto saxophone

• Ryan Reynolds, bassoon

Composer Note:

Earth-Sky Adoration begins with solemn "Earth" material that features droning accompaniment and slow antiphonal melodies. "Sky" enters in the form of birdlike gestures across the quintet, creating a cacophony that settles into a cheerful, rustic theme. "Earth" returns somberly, even grimly, and an attempt to recall "Sky" results in increasingly murky and turbulent material. As this storm passes, all members of the quintet begin to piece together material from both sections. "Earth" finally gains a real sense of cheer and gladly (if somewhat clumsily) climbs to "Sky." The whole ensemble celebrates with increasing intensity before the work ends joyfully. 

Second movement read in Spring 2025 by members of the Pittsburgh Symphony Orchestra:

• Boxianzi Vivian Ling, violin I

• Regi Papa, violin II

• Aaron Mossburg, viola

• Bronwyn Banerdt, cello

• John Moore, double bass

Composer Note:

In the first movement of Commence, a wandering, intimate melody is first presented by the viola and then in three alternate versions, each concluding with a short outburst. The third of these outbursts proceeds directly into the second movement, in which tense, dancelike material seems to always be beginning new but related episodes. A lyrical section recalls the first movement and provides some relief from this growing tension, and while the answering dance seems to grind to a halt, the ensemble begins yet another episode that fades away as if nothing of note had ever happened... or ever will. 

Premiered at the 2023 International Musicians Academy, Vidin Concert Hall, Vidin, Bulgaria:

• Vladislav Adelkhanov, first violin

• Hannah Kwong, second violin

• Blanka Bednarz, viola

• Ovidiu Marinescu, cello 

Composer Note:

Emotional and harmonic ambiguity open this string quartet, imagining two pillars floating in the clouds. Uncertainty and wonder at this sight lead to fierce and aggressive material, as if taking an uncompromising stance on its meaning. Frustration and pain result, but a less strict alternative is presented through a cheerful waltz. Unfortunately, it becomes clear that this material cannot stand on its own either. Confusion and dissonance take over, and in the wreckage the opening material returns, but upside down. Miraculously, this passage morphs into an enhanced, even more lyrical version of its original self, and an extended coda ends the quartet in E Major, with solemn joy that the contrasting sections were unable to claim.

Premiered in Spring 2025 at the Carnegie Mellon University Composition Department Composition Studio Concert:

• Andrew Zimlinghaus, baritone saxophone

• Alex Showers, euphonium

• Brandon Williams, marimba

• Evelyn Davenport, piano

Composer Note:

"Color” has multiple contexts in this three-movement quartet. One is visual, imagining shades of the primary colors. A second context is timbral, harnessing the varied sound qualities of the four instruments. A third is emotional, using musical material to evoke emotions commonly associated with each primary color. But the fact that not everyone links either specific colors or specific sounds to the same emotions is emphasized by a fourth context for “color,” in which exaggeration and distortion constantly challenge the visual and emotional subject matter to reveal itself either vibrantly or garishly…if not both. 

Upcoming premiere in Fall 2025 at "Alex Irwin & James Krom: Art Songs of Love, Memory, and Hope":

• Billy Holz, viola

• Izzy Healy, viola

• Nick Fagnilli, piano

Composer Note:

4 Betrayals of Christ explores the "song without words" genre while depicting four scenes based on New Testament Scripture about Jesus Christ's death and resurrection. In each movement, the depicted scenes focus on a different apostolic figure who has betrayed Christ in some way, and the melodic material in each movement is created by setting Biblical passages in which these betrayals are most clearly referenced by the relevant figures themselves.

In the first movement, Judas Iscariot is driven to despair by recalling his most blatant betrayal of Christ. At the same time, hopeful passages and an ambiguous ending allow for the possibility that even Judas could be saved by God's mercy.

In the second movement, Thomas finds the celebration of his fellow disciples ridiculous; unless he himself sees the risen Christ, why should he believe? Jesus has an answer for him.

In the third movement, Peter's joy at having his Lord alive again is soured by recurring memories of how he denied Jesus in his hour of need. A fishing trip may distract him, as long as nothing strange happens.

In the fourth movement, Saul is busy rounding up troublesome Christians for punishment. Though reminders of the previous scenes challenge his righteousness, Saul's zeal only increases right up until the moment that the Lord himself forces him to confront the truth of his misdeeds.

The Biblical passages consciously referenced in this work include:

Matthew 26:14-25,47-49

Mark 14:3-9,26-31

Luke 22:54-62

John 20:24-29, 21:1-19

Acts 9:1-9

Galatians 1:11-17

Premiered in Fall 2022 at the Catholic University of America Composition Department Composition Area Concert:

• Michael Roll, double ocarina

• Michael DeMarco, marimba

• Faith Foster, viola

(adjacent video with Megan Sie, clarinet)

Composer Note:

Marimba was an instrument I had never utilized before writing this piece, and I wanted to highlight its beautiful percussive abilities and sound in Forest (Day & Night). Marimba is the backbone that clarifies rhythm and harmony throughout the work, but it also has solo moments. “Day” begins with bouncy melodies passed between clarinet and viola in uneven rhythm. Increasingly exuberant, “Day” is succeeded by “Night,” which presents similar melodies in a more melancholic and introspective mood. Near the end of “Night,” the uneasiness created by shifting meters is enhanced with a sorrowful duet between clarinet and viola, but “Day” does return in the end with its energy and cheer. 

1st and 2nd movements premiered Spring 2023 at the Catholic University of America Composition Department Composition Area Concert.

• Leah Krieger, violin 1

• Aaron Meier, violin 2

Composer Note: In the first movement of this sonata,  "Agitated," the opening’s mechanical figure fades away to an off-kilter dance, with a rough and restless mood throughout. A new, soaring melody eventually emerges, but the movement still ends harshly. In "Pensive, Hazy," a similar melody is presented three times. The first two times, the mood brightens before the melody is stopped abruptly. The third time, a cheerful mood seems to solidify, but after a dark response the second movement ends quietly and solemnly