This is an adaptation of a traditional Portuguese carol which I wrote for the
Manhattan Choral Ensemble's 2008 Christmas Series.
The live recording
is from the premiere (12/18/08) at Old St Patrick's in NYC.
The second
recording is from a live (12/11/08) Sirius/XM broadcast.
This piece began as a standalone Kyrie in 2001 and was completed in 2005 for Uncloistered, a 5-voice ensemble studying at the University of York. The recording comes from my composition recital, where I conducted a group of undergraduate and graduate students from UGA.
This traditional Austrian carol was written for my church choir for Christmas 2000. The recording included here was from a performance by the UGA Concert Choir in Dec. 2003 with the composer conducting.
A traditional American folk song arranged for a two-part chorus.
This simple setting has been performed in Mass. and Iowa, although the recording quality of both events was not satisfactory.
This short setting was written in 2005 as part of my comprehensive exams and may figure as a part of a proposed set of Whitman settings for solo voice.
A short set of fantasy variations that shows the influence of shape note singing and harmony. Premiered in November 2006, conducted by the composer. The score is now available for purchase from Gold Branch Music.
This piece was written for the Athens Guitar Trio. It is scored for two guitars in
standard tuning and one guitar tuned down a minor third (i.e. guitar 3 is notated as a transposing instrument). The score is undergoing some major revisions, mostly for
clarity. The premiere took place during William Bolcom's spring 2006 residency at UGA.
The Concertino for Horn was written for Heidi Lucas and includes some very dificult multiphonic effects in the second movement.
The first two movements were premiered in 2005 as a piano reduction, with the full work getting its premiere in April 2006.
...my adult response to my failings to thrash in an appropriately gnarly way as a teenager. It may be the only piece on earth to quote Barry Manilow, The Sex Pistols, and Beethoven.
This work was written for a program entitled "Appropriation" at the University of Georgia. The piece takes a video
recording of a Samuel Beckett play, Not I,
and remixes the audio with a montage of itself. Additionally, the video is
manipulated in response to the audio. The original film is
available here.
This is the first version of a piece written as a birth present for a friend's son. The piece is nearly 6 hours long and
is meant to induce sleep. The pitch collections are derived from a type of serialism that I first explored in "Icosahedral" from the
9 Bagatelles for Guitar Trio. The twelve chromatic pitches are treated as the vertices of an icosahedron. Trichords are derived from the
faces of surface, and chord progressions arise from a traversal of the skin of the solid. The title takes note of the fact that the Latin words
for "birth" and "swim" are nearly the same.
A short piece for disklavier (player piano) generated by a mainly algorithmic process based on the classic
computer science Game of Life.
The notes are generated with a combination of php and perl
scripts. The project was originally intended to be a web page which would generate audio on demand,
but the scripts are so CPU intensive that it would likely not make me any friends with my internet
hosting provider.
CSound project (2005) consisting of one main instrument, its inversion, and an instrument
that makes clouds of the other two. The score includes some random elements which make each recording slightly different.
(There are many low frequency sounds in this piece which may require a subwoofer to be fully audible.)
CSound project (2005) made by placing four versions of Subduction (above) concurrently
into quad space, each panned towards one of the four speakers (in extension of the 'clouding' idea).
The Fairgrounds Fantasy is a ten minute work for orchestra which is
roughly divided into an opening theme and variations and a closing
moto perpetuo. The piece includes evocations of spinning and disorientation, much like an overwhelming walk through
a fairground at night.
The piece received a reading in winter 2001 and would need significant revision were it to be
performed again. Unfortunately, the recording from the reading session is unusable.
Scores are mostly in .pdf format, which requires
Adobe Reader or some similar application. (Most systems have something for this purpose pre-installed.)
Recordings are either in mp3, midi or .mov format, which your browser should be able to interpret. If not, try downloading the
appropriate version of QuickTime Player.