Composer
Chamber opera in one act, after the play by W. B. Yeats. Four singing roles:
There’s also a non-singing part for a dancer, playing the hawk-spirit that guards the well.
Vocal score (PDF). I expect to arrange this for whatever small forces are available.
The only bit that’s been recorded is an aria, “I came like you”, with Caleb Lewis, baritone.
Songs for voice and piano, with texts from three different writers, composed over the last two years.
“Virtue” is performed by Morgan Balfour, soprano, with James Maverick, piano. “Piano” and “I came like you” are performed by Caleb Lewis, baritone, with Gabe Merrill-Steskal, piano.
The Yeats is part of a complete setting of the play At the Hawk’s Well as a one-act chamber opera.
Setting of the George Herbert poem, for soprano and piano. January 2020 (but building on sketches from years ago).
Epilogue to Yeats’s At the Hawk’s Well, set for soprano, mezzo and piano. The full opera will also include roles for baritone and tenor soloists (and will be arranged for at least somewhat larger forces). April 2019.
Score (PDF).
Prologue to Yeats’s At the Hawk’s Well, set for soprano, mezzo and piano. The full opera will also include roles for baritone and tenor soloists (and will be arranged for at least somewhat larger forces). March 2019.
Score (PDF).
Song setting for alto and clarinet, about 3m long. December, 2018.
Text is a poem of Hugo von Hofmannsthal. (See this article on the fairly recent rediscovery of the autograph.)
Score here, with clarinet transposed.
A setting of the Gertrude Stein text, for flute and soprano.
Score (PDF).
Setting for soprano and piano of the poem by Laura Riding. May 2017.
Score (PDF)
Performance recording, with Tricia Bell, soprano, and Richard Forde, piano.
