I think of this piece as being very physical in its representation and transformation of harmony and texture. counter)induction, with Alex Sopp on flute.

In a number of significant ways, I have written Vox Sanguinaria twice. The first time was centered around my charismatic friend Cara Reynolds and an important event in her life. When I went to learn the actor's part for the counter)induction concert…

I think of this piece as being very physical in its representation and transformation of harmony and texture. counter)induction, with Alex Sopp on flute.

In a number of significant ways, I have written Vox Sanguinaria twice. The first time was centered around my charismatic friend Cara Reynolds and an important event in her life. When I went to learn the actor's part for the counter)induction concert…

I think of this piece as being very physical in its representation and transformation of harmony and texture. counter)induction, with Alex Sopp on flute.

In a number of significant ways, I have written Vox Sanguinaria twice. The first time was centered around my charismatic friend Cara Reynolds and an important event in her life. When I went to learn the actor's part for the counter)induction concert…

I think of this piece as being very physical in its representation and transformation of harmony and texture. counter)induction, with Alex Sopp on flute.

This is the final scene of "The Lost Child," my big work for flute/actor/percussion/electronics. In this scene the protagonist/wild woman Ana realizes she will be outed as a fraud, and so takes her own life. flute, me; voice, Benjamin Pierce;…

In a number of significant ways, I have written Vox Sanguinaria twice. The first time was centered around my charismatic friend Cara Reynolds and an important event in her life. When I went to learn the actor's part for the counter)induction concert…

I think of this piece as being very physical in its representation and transformation of harmony and texture. counter)induction, with Alex Sopp on flute.