Solo
Piano, Organ, Violin, Percussion, &c.
Piano Sonata No. 1
Instrumentation: Piano (1)
29’
Composed for solo piano, this composition is intended as a celebration of Azerbaijani culture by incorporating elements of traditional dance forms throughout the work.
I M P R O V I S A T I O N
The first movement blends arch sonata-allegro and sonata-rondo forms. Theme A is presented in a binary form, while Theme B utilizes a ternary structure. These themes are developed in subsequent movements.
B A L L A D
The second movement is rooted in the ashik tradition. It further develops Theme B within a ballad form that incorporates ternary substructures. The music is a somber, threnody-like piece. Dedicated to Janet.
S C H E R Z O & R O N D O
These two short, conjoined movements conceptually develop Theme A. The third movement is a through-composed scherzo in a rough rounded binary form. The fourth movement is an eight-part rondo, depicting a gazelle dance.
T O C C A T A
The final movement is a poetic toccata, an ode to fire that culminates in an illustration of fire’s creation. Its form emulates the first movement’s symmetrical arch form (ABCBA) but inverts the final two sections (ABCAB), creating a sense of asymmetry.
Piano Sonata No. 2
Instrumentation: Piano (1)
14’
This piano sonata has one movement and includes sections titled City, In the Park, Balalaika Song, and Mermaid. It is inspired by various cities the composer has visited or lived in, such as Cardiff, Prague, Buffalo, and New York City. It also reflects the creation story of the balalaika, a favorite instrument of the composer.
SCORE https://www.universaledition.com/en/Works/Piano-Sonata-No.-2/P0205400
Piano Sonata No. 3
Instrumentation: Piano (1)
10’
This is a piano sonata in one movement written in early 2024. The work received an honorary Certificate of Achievement in the NMGCS IV International Composition Competition, as the inspiration of the work was an Azerbaijani folksong—"Yellow Bride." The title implies either a bride with blonde hair or a woman from the mountains (the words can be similar or exact in appearance). The work is a continuation of the works I have written in honor of Azerbaijani culture, which also includes Piano Sonata No. 1 and Piano Trio No. 1.
It is dedicated to my late grandmother and grandfather.
Piano Suite No. 1
Instrumentation: Piano (1)
17’ 30’’
This piece consists of seven movements inspired by Italian culture. It was completely rewritten in April 2023, although it originated in 2019, when it was created alongside Paul Klee's paintings.
The first movement, Giga, has fast motions and arpeggios to mimic the ancient dance.
The second movement is a serene serenade, reflecting the calm of night.
The Saltarello follows, showcasing lively interpretations of jumping, typical of its dance style.
The fourth movement, Zampogna, evokes the sound of Italian bagpipes, with distinct voices representing the instrument's drones. Originally intended as a siciliana, it was adjusted for rhythm.
The fifth movement is lively, originally called Toccata, now reimagined as Caccia, symbolizing a chase for tranquility through motion.
The sixth, Vespro, remains gentle and represents a calm nocturne, controlled in form.
The final movement, Romanza, is the most tender, added later as a reflective piece, initially a separate work known as “Pastel.”
Piano Suite No. 2
Instrumentation: Piano (1)
12’
This suite has four movements. It was first written in 2020 and largely revised in July 2023. It is dedicated to Poland.
The first movement honors Tadeusz Pankiewicz's story during World War II, which resonated with the composer during a visit to Kraków.
The second movement pays tribute to František Kupka's painting “The Form of Vermilion,” a favorite of the composer.
The third movement is the longest and features a trance-like pattern, resembling a walk through the woods.
The final movement is a brief toccata characterized by continuous motion. It was originally composed from May 26 to 29, 2020, and rewritten from July 1 to 3, 2023.
Piano Suite No. 3
Instrumentation: Piano (1)
11’
A suite for piano in four movements inspired by Belgium.
Piano Suite No. 4
Instrumentation: Piano (1)
18’ 30’’
A piano suite based on my time living in Wales, Worcestershire, and Cornwall.
Dedicated to Stef Conner.
Piano Suite No. 5
Instrumentation: Piano (1)
15’
This piano suite has three parts and is inspired by the world-tree from Norse mythology (Maailmanpuu in Finnish). Each section reflects early winter: the first frost, the warmth of a new fire, and the cold wind among the spruce trees, showing nature's connections.
It was nominated for the Red Jasper Award in 2022.
Piano Suite No. 6
Instrumentation: Piano (1)
47’
In fifteen movements, this suite for piano was composed from improvisations, which involved a great deal of dictation. It is written in honor for my appreciation of Central Europe, the Czech Republic, and Prague, specifically. It is also dedicated to my home, Buffalo, NY. It was composed from 2018-2022, although it was lightly revised/re-engraved in 2025.
The whole set is dedicated to Zuzana Wienerová.
Piano Suite No. 7
Instrumentation: Piano (1)
20’
For solo piano, this suite is in four movements. It was initially inspired by “The White Ship,” by H.P. Lovecraft. Unrelated to this but of note, the White Ship incident was also studied during the time of composition, and themes of dreams, the sea, and death are central to the suite.
The first movement is the view of a lighthouse drifting away from sight, until being lost in sea fog. It is followed with a short and disintegrating piece. The third movement is inspired by the island Xura (“Land of Pleasures Unattained”) from the Lovecraft short story. It is the sweet scent of incense, plagued by something more fetid. The final movement is the heartfelt fragrance of cardamom, and a question of peace in uncertainty.
Clarinet Sonatina No. 2
Instrumentation: Clarinet in A (1)
12’
Composed for solo clarinet (A), this sonatina is in three movements.
The first movement is an introduction bearing a semblance to a now-shelved sonatina for flute. The piece is balancing act between flowing melodic lines and broken intensity.
The second movement was composed first, in 2022, as a standalone piece. It was revised, and it serves as the coalescence of material of the whole set.
The final movement is dance-like bacchanale, or more so a dithyramb. It was conceived of as a
satyr play, and it is a lively piece that also bears a likeness to a different, shelved work for violin
and piano.
Piano Ballade No. 1
Instrumentation: Piano (1)
10’
This piano ballade is inspired by the story of Medusa. It is in two main episodes: an Epyllion—serving as an introduction to the narrative background; and an Elegeía—as she remembers her lost beauty when she lived in her home island of Sarpedon. The work ends with an ode to the ocean.
Mechanically, the work includes a melodic fragment from my Second String Quartet—the movement Ice Blossom—a form of spolia, which are old fragments embedded into new constructions in Roman architectural practice (lit. “spoils”). In addition, harmonic and rhythmic information is derived from the title of that work, as well as the name of Medusa’s home isle of Sarpedon, to assist in the metaphorical representation of Medusa and her homeland.
Guzheng Sonata No. 2
Instrumentation: Guzheng (1)
14’
This is a sonata for solo guzheng in four movements. It was written as a means of working with a different tuning setup for the instrument, which is often pentatonic.
Guzheng Sonata No. 1
Instrumentation: Guzheng (1)
15’
This is a sonata for solo guzheng in three movements. It was written as part of a series of works for the guzheng, including two trios and another sonata.
Organ Sonata No. 1
Instrumentation: Organ (1), ideally three manuals
23’ 30’’
A three-movement sonata for organ. Work began with the third movement, and the second movement is inspired by a Norse runestone, Eggjagaldr.
Xanadu
Instrumentation: Violoncello (1)
6’
This piece for solo cello is inspired by Samuel Taylor Coleridge's work, 'Kubla Khan: or a Vision of a Dream.'
Moonflower
Instrumentation: Vibraphone (1)
3’ 30’’
This piece was originally for three percussionists but is now arranged for solo vibraphone. It is a brief night piece inspired by the moonflower, a flower that only blooms at night and is quite rare.
Yötön Yö
Instrumentation: Violin (1), with speaking part
~14’
For violin/speaker, this rhapsody was composed on three poems by V. Koivioni (with translation from Finnish to English by David Hackston). The theme of the poems is on Midsummer Night in Finland and the nightless night (yötön yö) therein.
This is digital mock-up, and does not include speaking part with the poetry.