- for Cello, Bass Clarinet and Piano
(2003-Present)

I. The Burial of the Dead
II. A Game of Chess
III. The Fire Sermon
IV. Death By Water
V. What the Thunder Said

The dark landscape T.S. Eliot depicted in his poem, "The Waste Land," provided the initial the imagery and inspiration for original vision. Later, I fed a recording of Sir Alec Guinness reading the poem into my computer to generate raw musical material. The poem's structure echoes as an abstract representation in the form of the electronic conversion. I then expanded and elaborated upon the computer generated source material.

Counter)Induction performed the music in these recordings (5/6/03) and (12/9/03).

- Soundtrack Selections for Orchestra
(2003)

Silence and Light
Soft As Falling Petals
Misty Autumn Afternoon
Pyramids at the Louvre

I was very fortunate to have the opportunity to compose for film. This music is the sountrack of a documentary I scored for Columbia University's Graduate School of Architecture. The documentary is about the design of 3 art museums by the architect Louis Kahn.

Rendered and recorded by the composer in May 2003 in a virtual music studio (using sound fonts) on a computer I built for this purpose.

I. Survival of the Fittest
II. Galapagos

Darwin, the man, the name, the myth, were as controversial and misunderstood as his theory was revolutionary. Where are we in the evolution of music?

Counter)Induction performs of this recording of the premiere of this piece. Recorded 12/3/2002.

Remember...Never Forget

fter avoiding the area for almost a year, I visited the WTC site and then the Jewish Heritage Museum ...The title to this piece is taken from the biblical inscription on the door of the museum.

Musically, I sought to convey the tense, eerie feeling of desolation and dread in the air among the World Trade Center ruins. The contrasting music represents the grace and restraint of mankind’s response to the atrocity.

I did not attempt to say everything in this composition; I simply wanted to capture the dichotomy of emotions that characterized that era for me.

Performed by Anna Bulbrook (Violin I), Jennifer Kim (Violin II), Megan Tweed (Viola), Chris Chorney (Violoncello). Recorded 12/4/2003.

I. Dark Wood, Dark Water
II. Bitter Strawberries

Musical ideas spawned from Sylvia Plath's evocative, but murky imagery. I see the music as merely an extension of the poem, the speaker's stream of conscious, both anticipating and echoing the narrative as its aural subtext.

I. The Foundation
"It began in nothing and in nothing it ends." -Cornelius Gallus
II. Dreams of Utopia
"Utopia...its impracticality is no longer to be assumed." -John Cage
III. Power and Corruption
"Power is the supreme law." -Adolf Hitler, Mein Kampf
IV. The Lesson of War
"The end move in politics is always to pick up a gun." -Buckminster Fuller
V. Postlude
"Does any man suppose that the present experiment in civilization is the last the world will see?" -George Santayana

...There was a world founded on ideals and built on dreams...that rose to power, but succumbed to the corrosive force from within and without...that collapsed upon itself in ruins...and in the aftermath, resurrected itself from its crushed pillars and fallen ash with the same undaunted spirit and bold vision that originally inspired its fated conception...

Performed by David Dash (Trumpet), Eileen Bedlington (Trumpet), Susan Babcock (Horn), Josh Koppeis (Trombone), Jason Arnold (Tuba). Recorded April 2002.