Works and Performances

Please see links below for more information on selected works. Please contact Edition Gravis or Aaron Einbond for full scores and performance materials.

Orchestra and large ensemble

Endangered Sound, five pieces for orchestra with field recording (2,2,2,2 – 2,2,0,0 – 2 Perc – Hp – Pno – Strings, stereo electronics) commissioned by the Greenwood Orchestra and Benjamin Rous, conductor, Cummington, MA, 2013.

Without Words for soprano, eleven players, and electronics (S, Bfl, EH, Cbcl, Saxes, Gtr, Perc, Pno, Vln, Vla, Vc, Cb, stereo electronics), Fromm Music Foundation commission for Ensemble Dal Niente, Chicago, 2012; Fromm Concert Series, Harvard Unversity, 2014. 

Music theater

Hidden in Plain Sight site-specific music theater for mezzo-soprano, baritone, clarinet/bass clarinet, violoncello, and electronics (multi-channel), 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.


Unspeakable Home performed installation for flute, bass clarinet, violin, viola, percussion, piano, and electronics (4-channel), Commande Publique du Ministère de la Culture de Luxembourg, United Instruments of Lucilin, Casino Luxembourg — Forum d’Art Contemporain, November Music, ‘s-Hertogenbosch, 2022.

Attempt at Exhausting a Place for flute, soprano saxophone, viola, percussion, piano, and electronics (4-channel), 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 (stereo), 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 (stereo), 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 (4-channel), 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 (4-channel), 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.

String Trio with field recording (Vln, Vla, Vc, optional stereo electronics), commissioned by neuverBand, Fondation l’Abri, Geneva, Gare du Nord, Basel, 2015.

Cartographies for piano with two performers and electronics (multichannel), Giga-Hertz Förderpreis commission, production of the SWR Experimentalstudio, ZKM Kubus, Karlsruhe, 2014.

Minuteman Trail for bass flute, saxophones, viola, percussion, piano, and electronics (stereo), Eco Ensemble, David Milnes, conductor, Venice Biennale, 2014.

Sonic Postcards for varying instrumentation and fixed electronics (instruments include: EH, Cl, Bcl, Cbcl, SSax, BSax, Perc, Pno, Vln, Vc, Cb, stereo 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.

Le Cabinet des Signes for eight players and electronics (Picc/Bfl, Bcl, Saxes or EH, Perc, Pno, Vln, Vla, Vc, 6-channel 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.

Post-Paleontology for contrabass clarinet, violin, percussion/guitar, piano, Ensemble Dal Niente, Unruly Music Festival, Milwaukee, 2011; Das Neue Ensemble, Musik 21 Festival Niedersachsen, 2012.

Paläontologie for four baroque instruments and four modern instruments (Baroque Fl, Vla da gamba, Theorbo, Harpsichord, Cbcl, Vln, Perc, Pno), commissioned for Ensemble-Akademie “Concertare,” Ensemble Recherche and Freiburg Barockorchester, 2011.

Just Like Starting Over for recorder ensemble and electronics (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), Antonio Politano, PRIME Project, Lausanne, 2011.

Passagework for two pianists, two percussionists, and electronics (stereo or 4-channel), 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.

What the Blind See for bass clarinet, viola, harp, percussion, piano, and electronics (8-channel), Ensemble L’Instant Donné, commissioned by IRCAM Centre Pompidou for the Festival Agora, CentQuatre, Paris, 2009.

Solo with electronics

Prestidigitation for percussion and three-dimensional electronics, Maxime Echardour percussion, Mercredis de STMS, IRCAM, Paris; Benjamin Soistier percussion, IKLECTIK, London, 2022.

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 (stereo), commissioned by Stephen Menotti, Gare du Nord, Basel, 2017.

Xylography for violoncello and electronics (4-channel), 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.

Resistance for bass clarinet and electronics (4-channel), 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.

Silent Screen for amplified steel-string guitar and electronics (stereo), 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.

Starting Over for contrabass Paetzold recorder in F and electronics (4-channel), Antonio Politano, Lausanne, 2009; Rachel Heymanns, Brussels, 2011; Gabriele Drab, Ensemble SNIM, Vienna, 2011; Petra Zámbó, Leipzig, 2012.

Break for baritone saxophone and electronics (stereo or 4-channel), 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.

Beside Onself for viola and electronics (4-channel), 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.

Temper for bass clarinet and electronics (stereo), 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.

Electroacoustic and installation

Cosmologies III for fixed three-dimensional electronics (stereo binaural or 4th-order Ambisonics), produced thanks to an EASTN-DC residency at ZKM, Karlsruhe, inSonic 2020 Festival; Artificial Creativity: Sounding AI, 2022.

Cosmologies II interactive sound insulation (4th-order Ambisonics), produced thanks to an EASTN-DC residency at ZKM, Artificial Creativity: Sounding AI, 2022.

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 (8-channel) accompanying the exhibition “Notation: Kalkül und Form in den Künsten,” Akademie der Künste, Berlin, 2008. New version: Kleine Humboldt Galerie, Berlin, 2010.