for piano

In this piece responding to the climate crisis, every 20 seconds that elapses represents a decade, and each pitch that sounds represents 100 million metric tons of CO2 emissions.

for alto sax, classical guitar, percussion, piano

demarcation was written for and premiered by HYPERCUBE at the 2018 Charlotte New Music Festival. Rhythmic and melodic motives evolve out of a quiet yet energetic expansiveness.

for violin, viola, cello

Quoting the Russian folk song "Oi, to ne vecher'," That Wild Head is a piece about admission of misdeed, internal battle, and regret.

for choir

Teach Me, Lord was written for the Bethel Lutheran Church choir in Madison, WI. It is a setting of Psalm 119:33-37, 40.

fixed media

I created three sound art pieces for Yusi Liu's exhibition Hello/Goodbye, My Wisconsin Bedroom, all of which use sounds recorded in domestic space.

for handbell choir

Trisagion utilizes a melody from Pyotr Ilyich Tchaikovsky's Liturgy of St. John Chrysostom. This piece was performed at Bethel Lutheran Church.

for voice and piano

Anatolii Grachev was a Russian poet who befriended Turkmen painter Durdy Bayramov. I set his poems about his dear friend to Central Asian-inspired music.

for bass clarinet and marimba

Tiles was inspired by tessellating tiles lining bathroom floors.

for piano, violin, cello

The Haunting of Science Hall was commissioned by Kai Brito to accompany his promotional film of the same name. Video by Grace Vriezen and Joyce Wu.

for string quartet

Written in my freshman year of college, I still enjoy listening to this short and lively composition.