Fall Undergraduate Composers - Children of Enlightenment

Torso of Venus, Piano, ca. 1886-present

This piece, to me, begins before the first notes on the piano are heard, and continues long after they end. The material begs for much more than I have given it here, though I don’t think it is incomplete, per se. It is, however, much less ‘digested’ than I’d care to admit, and while the title—Torso of Venus—lends it a certain corporeal and/or spatial quality, the music tends more toward linearity (the work could just as easily be titled something like “Piano Music”—which is still an option!). Interestingly, I think this piece falls somewhere in between Torso of Venus and Piano Music in how we perceive it, though the ambiguity invites extensive exploration in the future, which, in itself, is quite exciting.

Three Dialogues' for Soprano and Harp

The piece ‘Three Dialogues’ was written with the intent of a monologue disguised as a dialogue to another. When this piece began, I assembled three poems which are separated by the time they were written and related to each other only by their intention. Each movement can be performed individually, but for the intended effect and meaning of the piece to be felt, the piece in its entirety should be performed as written. It is my intention to convey a dialogue covering love, introspection, and the value of self-expression, and I encourage all to make their own interpretation of the work as I view all interpretations to be correct.

Children of the Enlightenment

This piece highlights one of the final dramatic peaks present in my original musical, “Nannerl.” Nannerl has the opportunity to move to Vienna with her lover, Franz, and to pursue a career as a teacher and performer alongside her brother Wolfgang. Her father, Leopold, feels abandoned and betrayed by his children. He sings a dramatic rage aria, declaring that Nannerl must choose between risking her life and societal standing in Vienna, or living securely in Salzburg in the life he’s made for her. Leopold's rage is put on full display, yet we also witness his genuine love for his daughter and his driving determination to protect her at all costs. Finally at her breaking point, Nannerl grapples with excessive guilt- trying to balance her own ambitions and dreams with her deeply engrained sense of duty toward her family. Please keep an eye out for audition announcements coming soon!

Sinking Stones

"Sinking Stones" captures the introspective experience of loss and the quiet, inevitable descent of grief. Inspired by the image of stones slowly sinking into deep, dark waters, the piece explores the weight of memory and the sorrow of saying goodbye to someone who was once an anchor in life. "Sinking Stones" serves as a meditation on loss, a way to honor memories, and a reminder that even when they are no longer seen, loved ones remain with us, deeply and eternally.

Breaths

The fundamental essence of life itself is the act of breathing. Designed to showcase the woodwinds' organic connection to breath, the piece explores the sounds, rhythms, and emotions evoked by this simple, yet profound action.

Sequoia

Sequoia, like much of my other music, ponders the idea of how we represent shape and contour in music. Sequoia trees balance two perspectives - one can look up to the top of the tree and see a towering, formidable sight, or enter the spaces in between the roots of the tree and find a space that feels super intimate. These feelings come from our perspective of contour in nature and offer a fascinating angle to explore in music.

Travel

"Travel" – Edna St. Vincent Millay (1892-1950)

The railroad track is miles away,
And the day is loud with voices speaking,
Yet there isn't a train goes by all day
But I hear its whistle shrieking.

All night there isn't a train goes by,
Though the night is still for sleep and dreaming,
But I see its cinders red on the sky,
And hear its engine steaming.

My heart is warm with the friends I make,
And better friends I'll not be knowing;
Yet there isn't a train I wouldn't take,
No matter where it's going.

String Quartet No. 1 in E Minor

Written in January 2023, this string quartet was based on sketch I wrote nearly 2 years prior. The whole work is shaped around the primary motif, a four-note figure, which is repeated and developed extensively throughout each movement. The work oscillates between romantic, satirical, energetic, and melancholic atmospheres, each mood facilitated through different uses of the primary motif.