solo
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Nisi for horn and live electronics
Nisi was composed for hornist Adam Unsworth, motivated by his highly personal approach to the horn. It is dedicated to composer Iannis Xenakis to commemorate his 90th birthday (May 29th, 2012), inspired by Xenakis’s singular spirit, his totally unique sonic palette, and the uncompromisingness of his ideas.
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Long Path, performance at the Bowling Green New Music Festival
Long Path for solo piano and tape narration was performed by Solungga Fang-Tzu Liu at MidAmerican Center for New Music’s 2011 New Music Festival, “Method in Madness”, featured composer was David Lang. MidAmerican Center for Contemporary Music’s 32nd annual New Music Festival At the heart of the [MidAmerican] Center’s activities is the renowned New Music
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2010-11 Ray Smith Symposium: “Music of Conflict and Reconciliation”
“Sounds of Tradition and Renewal” and features the following: Ethnomusicologist Gregory Barz screens his documentary “Inanga, A Song of Survival in a Daughter’s Rwanda” (8 p.m.) Ken Meyer, SU guitar faculty, performs Kevin Ernste’s “Roses Don’t Need Perfume” (9 p.m.) Acclaimed Albanian music duo Merita Halili and Raif Hyseni present a night of folk and
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Anacrusis for organ/organists, wood workers, and electronic sounds
Anacrusis is a piece about suspension and anticipation. It was composed for organist Annette Richards for the inauguration of the new baroque organ …
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Roses Don’t Need Perfume for solo guitar and electronics
Roses Don’t Need Perfume takes its title from a quotation by Uruguayan writer, philosopher, journalist, and historian Eduardo Galeano.
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Katafala for solo marimba, percussion quartet, and live electronics (2006)
Katafala takes its name from two ancient roots (Greek and vulgar Latin respectively), kata and fala “supported/sustained” and “down”, respectively.
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Birches for viola and electronic sounds (2002)
Birches was composed as a response to the poem of the same title by the great American poet, Robert Frost. My intent was not to “set” the poem, but rather to explore its inner workings — to re-imagine its parentheticals, present in Frost’s vicarious vision of a boy, a scene of birches, and the truth