My music explores what happens when different worlds unfold at the same time. Each may have its own pace, character, and direction; yet, all must coexist within the same musical space. I am drawn to the tension where layers may cooperate, interrupt one another, exchange roles, or remain deliberately apart.
This approach is central to my use of polytemporality. For me, polytemporality is not simply the use of several tempi. It is a way of giving musical ideas distinct identities and allowing their relationships to change over time. Precision and clarity help those identities remain recognizable, even as the music becomes dense, unstable, or ambiguous. At times this results in complex sound worlds, but often it is instead approached with subtle caution.
It is important to me that the resulting music feels alive with consequence. Materials develop, resist, collide, dissolve, and sometimes produce something entirely new. Complexity is not the destination. It is one possible result of writing music in which coexistence is difficult, fragile, and meaningful.
Below, you can find the works written during PhD study at the University of York. Some are still being completed.
PHD YEAR 1
Guzheng Sonata No. 1, “Orchard”
Guzheng Trio No. 1, “Fishmint”
Guzheng Trio No. 2, “Scrimshaw”
PHD YEAR 2
Flute Sonatina No. 2, for flute and piano
Piano Concerto No. 1 (“Aspaklaria / אספקלריה”), for piano four-hands and orchestra
Viola Concertino No. 1, for viola and string orchestra
Concerto Grosso No. 1, for violin, harp, harpsichord, and string orchestra
Piano Sonata No. 4, “Chemical Gardens”
Concerto Grosso No. 2 (“Das Eismeer”), for santur, violoncello, harpsichord, and string orchestra
Oboe Sonata No. 1, for oboe and piano
Sinfonietta No. 1 in D major, “Buffalo”
Sinfonietta No. 2 in F major, “York”
PHD YEAR 3
String Trio No. 1, for violin, viola, and violoncello
Five Bagatelles, for violin and harp
Six Petrine Motets, for large mixed choir
Sinfonietta No. 3 in B major, “Saranac”
Sinfonietta No. 4 in F-sharp minor, “Cardamom”