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. (S, Bfl, EH, Cbcl, Saxes, Gtr, Perc, Pno, Vln, Vla, Vc, Cb, Stereo electronics)
Chamber ensemble with 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. (Picc/Bfl, Bcl, Saxes, Perc, Pno, Vln, Vla, Vc). Version II written for Le Balcon, Paris, 2011. Version IIb written for Ensemble SurPlus, Schloss Solitude, 2011. (Picc/Bfl, EH, Bcl, 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.
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)
Solo with electronics
Xylography for violoncello and electronics, Pierre Morlet, Musical Research Residency, IRCAM, Séverine Ballon, DiMenna Center, New York, 2015. (4-channel Electronics)
Resistance for bass clarinet and electronics, Heather Roche, Huddersfield Contemporary Music Festival, 2012. (4-channel electronics)
Silent Screen for amplified steel-string guitar and electronics, Kobe van Cauwenberghe, New York and Ghent, 2012; Seth Josel, Berlin, 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. (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. (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)
Postcagecards, performed sound installation for three instruments and electronics, Franz Liszt Stipendium Förderpreis commission, Hochschule für Musik, Weimar, 2012. (Bcl, Cb, Perc, and 12-channel electronics)
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)
Roughing It for electronic sounds, Festival MANCA, Nice, 2007; Microfollies, Aix-en-Provence, 2008. (Stereo electronics)
Ensemble and solo
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)
Still Lives for 16 players, Wellesley Composers Conference, James Baker, conductor, 2007. (Picc/Bfl, Ob/EH, Cl/Bcl, Bn/Cbn, Hn, Tpt, Tbn, 2 Perc, Pno, 2 Vln, 2 Vla, Vc Cb)
Allusions for clarinet/bass clarinet, contrabass, and piano, commissioned by the Left Coast Chamber Ensemble with support from the American Composers Forum, San Francisco and Mill Valley, 2007.
Microtures for solo piano, Karen Rosenak, Berkeley, 2006; Alexandra Gorlin-Crenshaw, Paris, 2009.
Leaping Lizards for percussion duo, Florian Conzetti and Christopher Froh, Empyrean Ensemble, Sacramento, Festival of New American Music, and Davis; Hunter-Gatherer, Stony Brook, 2006; Ensemble L’Itinéraire, Paris, 2008.