Works

Husks is a string quintet that moves between smooth tonal passages, abrupt dissonance, and gestures that echo simplified or almost caricatured musical forms. The piece explores how coherent musical ideas can fracture, leaving behind altered fragments that still carry traces of their original character. Rather than treating these contrasts as opposites, the work places them in proximity, allowing lyricism, instability, and familiarity to interrupt and reshape one another. In this way, Husks reflects on transformation—how structure can break apart and recombine—while maintaining a clear, ensemble-driven musical language throughout.

Theodical Lullaby is written for string quartet and harp. The work begins with a gentle, slightly unsettled harp figure that suggests the intimacy of a lullaby. Sweeping string harmonies gradually enter, expanding the atmosphere into something more reflective and elegiac, with a soaring violin line that carries the central motive. This lyricism is interrupted by driving, militaristic staccato rhythms that introduce tension and urgency. The piece balances grief with forward motion, allowing these contrasting elements to coexist. In its closing section, ascending lines return to the opening material, restoring a sense of fragile reassurance and quiet resolve.

This has a flowing intro, before delving into more uncomfortable sonic territory.

Winged Witness is written for chamber orchestra. The work presents a fragmented melodic line set against unsettled, faintly nostalgic harmonic shifts. A recurring chordal motive—haunting and restrained—anchors the piece as the melody gradually evolves. The upper winds move in restless, flickering gestures, suggesting motion that continues even in uneasy surroundings, while a somber cello line interrupts and interweaves with this activity. These contrasting elements create tension between lightness and gravity, observation and involvement. Over time, the materials return and realign, allowing the work to move toward a measured and reflective resolution.

Winged Witness is written for chamber orchestra. The work presents a fragmented melodic line set against unsettled, faintly nostalgic harmonic shifts. A recurring chordal motive—haunting and restrained—anchors the piece as the melody gradually evolves. The upper winds move in restless, flickering gestures, suggesting motion that continues even in uneasy surroundings, while a somber cello line interrupts and interweaves with this activity. These contrasting elements create tension between lightness and gravity, observation and involvement. Over time, the materials return and realign, allowing the work to move toward a measured and reflective resolution.