Believe for Solo Flute, Solo Piccolo and Flute Choir; 10’ 00” +



Believe imagines the journey and motion of the soul. This work features two soloists, one whose lines transcend the soundscape from afar, and one who personifies this soulful journey. This work is built around a flute choir that helps to create a contemplative and sometimes hazy scene with familiar melodies and unfamiliar sounds alike. Sometimes, all it takes is for one to believe as we traverse the land of the living.

Video Above: I Think of You starts at 1:01:44!

I Think of You for Flute and Piano; 6’ 15”



Inspired by one close friend's troubles, I Think of You creates an emotional musical painting depicting longing and loss. These qualities are musically matched by subtly shifting pitch centers within a mostly-modal context and a sustained, dramatic flute melody. A contrasting section of faster and louder passages sets fleeting anger to the forefront, only to again return to a mindful, although saddened, state of reflective contemplation.

Goodbye for Solo Violin; 11’ 00”



Goodbye was written while reflecting on personal moments from the composer's life. The major seventh is featured at key moments, bearing the weight of the composer's memories — wistful, dissonant, and beautiful all at the same time. The same can be said of goodbyes, but there is always a new start in tomorrow and a hello that guides us forward.

Presence for Piano Trio; 8' 00"



There are a lot of mysteries to life, including one's purpose or what remains beyond our realm of understanding. Highlighting a poem by the composer, Presence juggles the ideas of existing, being present, and embodying an aura which affects others. In the end, everything will melt, disappear, and sink, but also have existed. So, where are you?

Eldissoquy for Full Orchestra; 10’ 30”



The meaning of a piece of music is dependent on the listener's personal experiences. The title, Eldissoquy, is an artificial word that combines elements of the words possible, diss, soliloquy, and decay. This word was also created as if to be the name of a mythological event that has not occurred, which is partially inspired by major events that appear in different religions.

Despite alternating motions and emotions, the nature of the Eldissoquy is up to you: the listener. How will you define our future?

Choice for Solo Cello; 8’ 30”



For some, there are moments in life that are filled with great despair. The sound world of Choice ruminates on the soul-crushing weight of overpressure effects and scordatura, detuning the cello to recurringly emphasize a minor second interval. This dissonance, cognitive or sonic, eventually resolves as the work shifts toward a more neutral palette with white noise and space. How to evaluate this resolution, either cognitive or sonic, is your choice.

Tenparu (テンパる) for Solo Saxophone; 3’ 45”



Tenparu (テンパる) is a Japanese expression that conveys being at the edge of one's limits. This work uses various gestures that come in and out of focus to capture the sense of one slowly approaching their breaking point. Ultimately, that threshold is crossed in a final squeal of emotion.

Winter for String Orchestra; 10’ 00”



Winter is intended to be ambiguous in its “definitive” meaning, comparable to the reduction in visibility experienced when in a thick snowstorm. This work includes theatrical elements, several indications of contrasting timbre, and moments of aleatoricism and intonation outside of Western classical music. What thoughts come to mind as you experience this music?