Bullish (2019)
for chamber orchestra: 2(picc)-2(EH)-2-2(contra), 2-2, timp+2, strings, 7′
written for the Orchestra of St. Luke’s DeGaetano Composition Institute

Re(new)al (2018)
concerto for percussion quartet (full orchestral version), 16′
percussion quartet soloists, 2-2-3(bass cl.)-2, 4-2-3-1, timp+2, harp, strings
commissioned by the Albany Symphony
dedicated to Sandbox Percussion

Re(new)al (2017)
concerto for percussion quartet (sinfonietta version), 16′
1-1-1-1, sop. sax, bari sax, 1-1-1, piano, 1-1-1-1-1
commissioned by the Albany Symphony and General Electric (GE) Renewable Energy
dedicated to Sandbox Percussion

Electric Aroma (a most disagreeable noise) (2018)
for sinfonietta: 1-1-2-1, 1-1-1, 2 perc, piano, 1-1-1-1-1, 8′
written for Alarm Will Sound for the 2018 Mizzou International Composers Festival

Moxie (2018)
for orchestra: 4-3-3-2(contra), 4-3-3-1, timp+4, piano, harp, strings, 8′
written for the Curtis Symphony Orchestra
selected for the 2019 Minnesota Orchestra Composers Institute

Neon (2016)
for orchestra: 3-3-3-2(contra), 4-2-3-1, timp+3, piano, strings, 11′
written for the New York Youth Symphony
commissioned by the NYYS First Music Program; Joshua Gersen, conductor

Scribbles and Riddles (2016)
for orchestra: 2-2-2-2(contra), 2-2-2-1, timp+4, strings, 6′
for the Cabrillo Festival Orchestra
written for the Cabrillo Young Composers & Conductors Workshop; Nathan Aspinall and James Blachly, conductors

The Wild Woods (2016)
prelude to Prokofiev’s Peter and the Wolf
for chamber orchestra and narrator: 1-1-1-1, 3-1-1-0, timp+2, strings, 13′
commissioned by the Winston-Salem Symphony; Stephen Mulligan, conductor; Paul Brown, narrator

Nothing If Not (2015)
for double woodwinds, piano, bass, & percussion, 14′
written for the American Modern Ensemble

Baser Nature (2013)
for full orchestra: 3(picc)-3(EH)-3-3(contra), 4-2-3-1, timp+2, hp, pno, strings, 7′
commissioned by the Occasional Symphony