Orchestra and large ensemble with electronics
Endangered Sound, five pieces for orchestra with field recording, commissioned by the Greenwood Orchestra and Benjamin Rous, conductor, Cummington, MA, 2013. (2,2,2,2 – 2,2,0,0 – 2 Perc – Hp – Pno – Strings, Stereo electronics)
Without Words for soprano, eleven players, and electronics, Fromm Music Foundation commission for Ensemble Dal Niente, Chicago, 2012; Fromm Concert Series, Harvard Unversity, 2014. (S, Bfl, EH, Cbcl, Saxes, Gtr, Perc, Pno, Vln, Vla, Vc, Cb, Stereo electronics)
Hidden in Plain Sight site-specific music theater for mezzo-soprano, baritone, clarinet/bass clarinet, violoncello, and electronics; Opera Creation Workshop, Académie du Festival d’Aix-en-Provence, co-production with Opera Lab Berlin, 2016; TAK ensemble, Projet Q, New York, 2018. Excerpts performed by Two New Duo and Peyee Chen, City, University of London; Ackermannshof, Basel; Gare du Nord, Basel, 2017; as part of Was tun—eine Wunderkammer, Opera Lab Berlin, Ballhaus Ost (5 performances), Berlin, 2018.
Small ensemble with electronics
Attempt at Exhausting a Place for flute, soprano saxophone, viola, percussion, piano, and electronics, commissioned by soundinitiative with support from the French American Cultural Exchange (FACE), Qubit, New York, 2019.
Kate Frankenstien for bass clarinet, trombone, violoncello, percussion, harp, piano, and electronics, commissioned by Riot Ensemble with support from Nordic Music Days, Dunkers Kulturhus, Helsingborg, Sweden, 2018; City, University of London, 2019.
Central Park for baritone, bass clarinet, trumpet, trombone, and electronics, written for loadbang, Clothworkers’ Concert Hall, Leeds; Centrala, Birmingham; City, University of London, 2017; National Opera Center New York, 2018; Norwegian Seaman’s Church, New York, 2020.
The Kind of Problem a City Is for two percussionists, two keyboard players, and electronics, commissioned by Yarn/Wire, Arts Club of Chicago, 2016; City, University of London; Stonybrook University, New York; TRANSIT Festival, Leuven, 2017.
Graphology for violoncello solo, bass flute, bass clarinet, violin, percussion, and electronics, commissioned with support from the French American Cultural Exchange (FACE) for Séverine Ballon, the TAK ensemble, and Qubit New Music, DiMenna Center, New York, 2016. (4-channel electronics)
Cartographies for piano, two performers, and electronics, Giga-Hertz Förderpreis commission, production of the SWR Experimentalstudio, ZKM Kubus, Karlsruhe, 2014. (Pno, Perc, 8-channel electronics)
Minuteman Trail for five players and electronics, Eco Ensemble, David Milnes, conductor, Venice Biennale, 2014. (BFl, Saxes, Vla, Perc, Pno, Stereo electronics)
Sonic Postcards for varying instrumentation and fixed electronics, Chambre d’Écoute, Friedrichshafen and Freiburg, 2014, Distractfold and sound initiative Ensembles, Darmstadt, 2014, Hochschule für Musik Franz Liszt, Weimar, 2012, Anubis Quartet, Chicago, Evanston, and Phoenix, 2012. (instruments include: EH, Cl, Bcl, Cbcl, SSax, BSax, Perc, Pno, Vln, Vc, Cb, Stereo electronics)
Le Cabinet des Signes for eight players and electronics, Staubach Honorarium commission for Ensemble Cairn, Internationale Ferienkurse für Neue Musik, Darmstadt, 2010; Le Balcon, Paris, 2011; Ensemble SurPlus, Schloss Solitude, Stuttgart, 2011; Ensemble Mosaik, Festival Acht Brücken, Köln, 2012; International Computer Music Conference, Athens, 2014. Broadcast on WDR3, Cologne, 2012. (Picc/Bfl, Bcl, Saxes or EH, Perc, Pno, Vln, Vla, Vc, 6-channel electronics)
Just Like Starting Over for recorder ensemble and electronics, Antonio Politano, PRIME Project, Lausanne, 2011. (SS/A, S/T, A, T, Basset in F, Basset in C, 2 Cb in F, Cb in C, Scb in F, 4-channel electronics)
Passagework for two pianists, two percussionists, and electronics, commissioned by Yarn/Wire with support of Meet the Composer, North River Music, Greenwich House Music School, New York, 2010; Issue Project Room, New York, 2011. Recorded on: Yarn/Wire. Tone Builders Carrier Records, 2010. (Stereo or 4-channel Electronics)
What the Blind See for five players and electronics, Ensemble L’Instant Donné, commissioned by IRCAM Centre Pompidou for the Festival Agora, CentQuatre, Paris, 2009. (Bcl, Vla, Hp, Pno, Perc, 8-channel Electronics)
String Trio with field recording, commissioned by neuverBand, Fondation l’Abri, Geneva, Gare du Nord, Basel, 2015. (Vln, Vla, Vc, optional Stereo electronics)
Post-Paleontology for four/five players, Ensemble Dal Niente, Unruly Music Festival, Milwaukee, 2011; Das Neue Ensemble, Musik 21 Festival Niedersachsen, 2012. (Cbcl, Vln, Perc/Gtr, Pno)
Paläontologie for four baroque instruments and four modern instruments, commissioned for Ensemble-Akademie “Concertare,” Ensemble Recherche and Freiburg Barockorchester, 2011. (Baroque Fl, Vla da gamba, Theorbo, Harpsichord, Cbcl, Vln, Perc, Pno)
Solo with electronics
Cosmologies for piano and three-dimensional electronics, STARTS Residency commission, Alvise Sinivia piano, IRCAM Live, Grande Salle, Centre Georges Pompidou, Paris, 2020.
Central Park for trombone solo and electronics, commissioned by Stephen Menotti, Gare du Nord, Basel, 2017.
Xylography for violoncello and electronics, Pierre Morlet, Musical Research Residency, IRCAM, Séverine Ballon, DiMenna Center, New York, 2015; DiMenna Center, New York; Me Collectors Room, Berlin; Ateliers du Forum, IRCAM, 2015; Bread & Salt, San Diego; CCRMA, Stanford; CNMAT, Berkeley, 2016; Madeleine Shapiro, New York City Electroacoustic Music Festival (NYCEMF), National Sawdust, Brooklyn; inner sOUndscapes, University of Oklahoma; Eliot Allegrini, Festival MANCA, Nice, France, 2016; Dinosaur Annex, Third Life Studio, Somerville, MA, 2018. (4-channel Electronics)
Resistance for bass clarinet and electronics, Heather Roche, Huddersfield Contemporary Music Festival, 2012; Qubit Noise Non-ference, New York; Zagreb Music Biennale; BEAST Vanishing Point, Birmingham, 2013; Green Room, Somerville, 2014. Version for contrabass clarinet, Alejandro Acierto, Constellation, Chicago, 2015. (4-channel electronics)
Silent Screen for amplified steel-string guitar and electronics, Kobe van Cauwenberghe, New York and Ghent, 2012, Berlin, 2014, Paris, 2015; Seth Josel, Berlin, 2012; Chris Kotchie and Rodrigo Constanzo, ICMC, Perth, 2013; Simone Beneventi, Huddersfield Contemporary Music Festival, 2013; Diego Castro, Huddersfield, 2014. Version for soprano saxophone, steel-string guitar, and live electronics, Qubit, New York, 2011; Boston and Montréal 2012. (Stereo electronics)
Starting Over for contrabass Paetzold recorder in F and electronics, Antonio Politano, Lausanne, 2009; Rachel Heymanns, Brussels, 2011; Gabriele Drab, Ensemble SNIM, Vienna, 2011; Petra Zámbó, Leipzig, 2012. (4-channel electronics)
Break for baritone saxophone and electronics, David Wegehaupt, Fulbright Commission 60th Anniversary, Paris; Long Night of Sciences, Berlin; Moscow Autumn Festival, 2008; Open Sound West, CNMAT, Berkeley, 2010; Jérôme Laran, Ensemble Cairn, Blanc Mesnil 2009; Michael Ibrahim, New York, 2011; Ryan Muncy, St. Paul’s Hall, Huddersfield, 2013. (Stereo or 4-channel electronics)
Beside Onself for viola and electronics, Ellen Ruth Rose, Earplay Ensemble, San Francisco and Davis; Karen Lorenz, Ensemble Mosaik, Inventionen Festival, Berlin; Lucia Peralta, Ensemble L’Intinéraire, Paris, 2008; Pemi Paull, ICMC, Montréal, 2009; Stephanie Griffin, Cybersounds, HiArt Gallery, New York, 2013; Stephanie Griffin, Argento Chamber Ensemble, Austrian Cultural Forum, New York, 2014. (4-channel electronics)
Temper for bass clarinet and electronics, commissioned by the Festival MANCA, Florent Gerenton, Nice, 2006; Peter Josheff, Berkeley, 2007; Laura Carmichael, Klagenfurt and Southampton, 2008; Heather Roche, Huddersfield, Montréal, Otawa, and Basel 2011; Carol McGonnell, MATA Interlude, 2012; Krista Martynes, Birmingham, 2012. (Stereo electronics)
Electroacoustic and installation
Cosmologies III for fixed three-dimensional electronics, produced thanks to an EASTN-DC residency at ZKM, Karlsruhe, inSonic 2020 Festival. (Stereo binaural or 4th-order ambisonic version)
London Scenes for fixed stereo electronics, collaboratively composed with Matilde Meireles for release on Cities, 2019; live version performed at City, University of London, 2019.
What the Blind See, interactive sound installation accompanying the exhibition “Notation: Kalkül und Form in den Künsten,” Akademie der Künste, Berlin, 2008. New version: Kleine Humboldt Galerie, Berlin, 2010. (8-channel electronics)