Titanic 2012, a work written to commemorate the centennial of this tragedy, is a narrative of the story told through the eyes of the survivors. The three narrators recite quotes from survivors as a testament to their emotional and spiritual states before, during, and after the sinking.
This is an orchestral version of the piece for MIDI Ensemble and Choir originally premiered at Eastern University. Premiered by the Church of the Saviour Festival Choir and Orchestra during the Christmas season of 2011.
This symphony is a large symphonic work in a three-movement structure. Movement 1 is a long symmetrical form using three melodies. The second movement is an adagio based on a grand and soaring chorale theme. Movement 3 is a hybrid Scherzo-Finale with themes from the first movement being quoted and combined with new motives.
“…our light affliction, which is but for a moment, is working for us a far more exceeding and eternal weight of glory,” 2 Corinthians 4:17 (NKJV) Performed by players of the New York Youth Symphony in May 2010.
A short concert piece for the rare Heckelphone and chamber orchestra.
And this is the promise that He has promised us—eternal life. – 1 John 2:25 A piece written for Mary, aka wrtnpromise. The title has a double meaning. It is a play on Mary’s username on YouTube, but it is also a reference to the Bible, God’s literal written promise to His people. God promised us eternal life through His never-ending love, the ultimate promise. This piece is meant to depict that promise, the sacrifice of God’s son Jesus for humanity and His love for us in the process.
Commissioned by the Frank Sinatra School of the Arts for the opening ceremonies of their new building located in Astoria, NY. Quotations to several famous Frank Sinatra songs include “My Way” and “Come Fly with Me.” Performed by the Frank Sinatra School of the Arts Symphonic Orchestra and Jazz Ensemble in December 2009.
A piece for string orchestra. The music attempts to “reclaim” something that was lost.
The string orchestra revision of the string quartet version “To Jonnie“. The original work was written for a fellow student at the Frank Sinatra School of the Arts. This arrangement is for the New York Youth Symphony’s reading of the work in May 2009.
Based on the popular Gershwin showtune “I Got Rhythm”, this piece takes the famous chord progression to new places. The fantasia episodes include syncopated pizzicato strings, obnoxious clarinets, and swingin’ brass. Performed by the American Composers’ Orchestra in February 2009.
The subtitle is “Kindersymphonie,” literally meaning “Children Symphony,” is based on the original concept of a symphony for children. Despite evolving beyond that original mandate, this piece evolved into a view of the world from the eyes of a child. The piece is filled with many emotions, often overlapping; playful, tragic, majestic, nostalgic. Throughout we see the different emotions also changing over time as the child matures into adulthood.
A concert work depicting a portrait of the Internet with several tongue in cheek references.
A concert work for orchestra. The piece unfolds with fanfares and flourishes in grand jubilation. Suitable as an overture.
Prayer is a composition for String Orchestra. It is not based on any program but rather a set of emotions that cannot be categorized by words; they are instead immortalized in the music. The piece, while predominately tranquil, offers high and low points of emotional drama. It is melancholy throughout except for the ending section which offers hope in the darkened world of music. The sole essence of music is emotion, and the idea is paramount in the performance of this piece all the way to the last “Amen.” It was composed to embody this idea.
A concert work written for the New York Philharmonic. The “explosions of joy” was an abstraction of fireworks that I would watch as a child growing up. The grand fanfares and explosive percussion section depict the amazing power and awe of the colorful fiery explosions in the sky. Performed by the Philharmonic in May 2008.
The term “Passacaglia” in the title is not meant to be taken literally. This piece is more of a play on the passacaglia form. A traditional perspective would say that a passacaglia is a dance in 3/4 time with an unvarying bass line and constantly changing counterpoint in the upper voices. None of this really applies to this piece as a whole. The main theme is stated in the first three bars in the ‘Cellos. This theme is the bass line that is supposed to be constant and repeated throughout the piece. But by only bar four it is changed. The piece is a constantly changing kaleidoscope based on this three bar motive. Even the theme at bar 22 is connected even though it sounds completely different from the original. The scherzo section, being light in nature, gives even more insight to the nature of the motive. In the following wind soli, not only are the pitches altered, but the rhythm too. There are variations on the varied material and some variation on the varied material that was varied in the first place. However, somehow, the theme breaks through the other counterpoint around it: always there, but not always in plain sight; the theme is constant, just not in the bass line. This piece is not a traditional passacaglia but a modern interpretation of an established form using old and new techniques. Performed in June 2007 by the Bloomingdale School of Music Orchestra.