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;…

This piece is for solo viola. No electronics or processing were used. The fantastic technicolor performance is by Jessica Meyer.

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.

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.

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.

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.

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…