News
Early October(2025) brought the premiere of Mercury Variations, for piano and percussion, late July Piano Trio No.3 (Taming the Tantrum), and April Nel Tardo Mezzo (In the Late Half), a sort of musical confession written for soprano, clarinet, violin and cello, and Lagrangian Point, for female voice, piano and percussion, a short, lyrical hymn to Earth, inspired by Samantha Harvey’s novel Orbital. Tell es-Sakan (Hill of Ash) premiered last March: a concert-length protest work, written for string quartet and percussion. The work was composed from late spring to early fall of 2024, with breaks to write of If I Must Die, Let It Be a Tale, and several shorter works for solo (Adagio for Violin, Materials, Variazioni per Violino), and duo (Four Movements for Violin and Cello, Lament for Gaza).
Upcoming Concerts
Friday October 3rd, 2025, 8:00 pm, Community Music Center, 55 Taylor St, San Francisco. The premiere of my Mercury Variations for piano and percussion as well as seven more new chamber music works to be performed by Divesh Karamchandani and Elizabeth Hall, percussion, and Keisuke Nakagoshi, piano. Experience the unique blend of percussive rhythms and melodic piano tunes in a live setting. This in-person event promises to captivate your senses and leave you in awe of the musical talents on display. Click here to buy tickets on line.
Fall Winter 2025. I completed the The Retraction of Isobel Gowdie, a monodrama for soprano, choir and quintet, inspired by the confessions of Isobel Gowdie, a woman accused of witchcraft in early 17th-century Scotland. She left behind the longest witchcraft confession on record. The soprano will be Amy Foote, in an orchestration for small ensemble. Probably percussion, violin, cello, clarinet and piano. Click the image to the side, or here to read the libretto narrating the story.
Music Scores
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Teaching
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Some Press
A recent interview about Tell es-Sakan with Sharon Wayne can be found here, and a review of String Quartet No.7, an asynchronous piece written during the COVID pandemic here. Alongside, you’ll find an extensive interview with Carolyn Howley, featuring detailed excerpts from The Sofa, for percussion quartet, and Aquamarinus, performed by the Berkeley Symphony.
… and in the Pipeline
Other than orchestrating The Retraction of Isobel Gowdie, not very much at this point besides a short piece for piano and percussion. I might write a chamber orchestra piece for Fall 2025, or start working a new short Opera … we’ll see.