SELECTED LIST OF NOTEWORTHY PERFORMANCES

• 56 1/2 Feet (2001) for chamber orchestra. Commissioned and premiered by the Illinois State University Contemporary Players, 2001.
  
  
• Entre Funérailles IV (2000) for solo flute. Premiered by Helen Bledsoe at Posthoornkerk in Amsterdam on the Concerten Tot en Met series. Additional performances include CCRMA at Stanford University, the University of North Texas, and the University of Washington.
  
  
• Intellectual Property I (2000) for disklavier and improvising pianist. Premiered by Mark Applebaum at the Strictly Ballroom series at CCRMA, Stanford University, 2000. Also performed at Hong Kong Baptist University, at the Tenth Annual Florida Electroacoustic Music Festival, 2001, and at the University of Oregon.
  
  
• Meditation (1999) for piano 6 hands. Premiered at the Strictly Ballroom series at CCRMA, Stanford University, 2000. Also performed at Hong Kong Baptist University, Illinois State University, and Southern Oregon University.
  
  
• Entre Funérailles II (2000) for solo vibraphone. Premiered by Terry Longshore in Medford, Oregon and subsequently performed by him at Southern Oregon University. Additional performances include Wim Konink in Germany and a performance at Illinois State University.
  
  
• Concerto #1 for Florist and Percussion (2000). Premiered by James DelPrince, florist, with Mark Applebaum and Robert Damm, percussion in Starkville, Mississippi, 2000.
  
  
• Archittetura Redux (2000) a collaboration exploring the synergies of electronic music and contemporary architecture, with acclaimed New York film director Iara Lee, for electro-acoustic sound-sculptures with live electronics accompanying slide projections. Iara Lee is the founder of Caipirinha Productions and director of Modulations: Cinema for the Ear, a 1998 documentary on the evolution of electronic music. Premiered at Sonic Circuits VII, Mississippi State University, 2000.
  
  
• The Janus ReMixes: Exercises in Auto-Plundering, a CD of computer music (1999). Selections have been programmed at SEAMUS, the College Music Society, Southeastern Composers League, Kansas City Electronic Music Festival, various Sonic Circuits series concerts throughout the United States, and broadcast on radio programs throughout Canada, Russia, Australia, Lithuania, Belgium, Holland, Spain, England, and the United States.
  
  
• Entre Funérailles I (1999) for solo trumpet. Premiered by Scott Bauer at the College of Santa Fe, 1999.
  
  
• Aphoristic Fragment (1999) for two-channel electronic playback. Selected by the International Computer Music Association and programmed on ICMC ’99 in Beijing, China. Aphoristic Fragment is the soundtrack to an animation by visual artist Anna Chupa whose sound sources are sound-sculptures of the composer’s own design and construction, and whose visual image sources are still photographs of the same sound-sculptures. The video was presented at the 2000 Shy-Anne Festival and selected by the Sonic Circuits VIII electro-acoustic music festival administered by the American Composers Forum.
  
  
• Go, Dog. Go! (1999) for two percussionists. Commissioned and premiered by Skin & Bones in San Diego, 1999.
  
  
• Disciplines (1998) for piano. Commissioned by Betty Freeman as the new work of the 1998-1999 season of Leonard Stein’s Piano Spheres series. Premiered by Gloria Cheng in Los Angeles in 1999 and favorably reviewed in the Los Angeles Times and LA Weekly. Subsequent performances by Cheng include The 1999 Fresh Sound Music Series at Spruce Street Forum, San Diego. Also performed by Shannon Wettstein at Stanford University, Mississippi State University, Bemidji State University, Minnesota, and at the New England Conservatory of Music, Boston.
  
  
• That Brainwave Chick (1998) (NAI: Neural Audio Imaging/EIEIO Modulation: Electro-encephalograph In, Electronic Instrument Out Modulation) a collaborative installation with Paras Kaul for live brainwave data, converted to MIDI information, and transformed by a neural network composed with Max software. Performances include the American Composer Forum’s Sonic Circuits VI electronic music festival at the Walker Art Center, Minneapolis, the Explorations of the Photographic Era and Beyond conference at MSU, SIGGRAPH 2001 (Los Angeles, upcoming), and at the Smithsonian (upcoming). A CD-ROM of this work was presented at the 1998 International Compendium of Ars Electronica in Linz, Austria, in the categories of Computer Music and Interactive Arts.
  
  
• Overture to Catfish (1997) for three percussionists. Premiered by the MSU percussion ensemble in 1997; performed in San Diego by red fish blue fish, the UCSD percussion ensemble. Additional performances include the University of Oregon and the University of Southern Oregon.
  
  
• Column facing on 3 behind lintel (1997) a docudrama about architect Louis Sullivan and photographer-preservationist Richard Nickel, for bass clarinet, piano, and two percussionists. Commissioned and premiered by Zeitgeist in 1997. Zeitgeist performances include the Walker Art Center, Minneapolis. Subsequently performed by the newEar ensemble in Kansas City.
  
  
• Triple Concerto (1996) for piano, percussion, and contrabass with two percussionists, guitar, harp, and large choir. Premiered by Aleck Karis, piano, Vanessa Tomlinson, percussion, and Scott Walton, contrabass in 1996 with the UCSD singers, Mark Applebaum, conductor. Also performed at Mississippi State University 1998; upcoming performance at Brevard College, North Carolina, 2001.
  
  
• Janus (1992/1996) for flute, oboe, clarinet, bassoon, horn, 2 violins, viola, cello, and contrabass. Premiered by Harvey Sollberger, conductor, at UCSD in 1996; performed by Musica Nova (UM–Kansas City Conservatory of Music) in 1998 and the Illinois State University Contemporary Players in 2001.
  
  
• Scipio Wakes Up (and Smells the Coffee) (1995) commissioned by the Paul Dresher Ensemble (violin, bassoon, two electronic keyboards, electronic drumset, electronic marimba, and six electro-acoustic sound-sculptures). Premiered at the Chamizal National Memorial in El Paso, Texas; subsequently performed at San Francisco’s Center for the Arts at Yerba Buena Gardens, and at the Virginia Museum in Richmond.
  
  
• Tlön (1995) for three conductors and no players. Premiered in 1996 by Rand Steiger, Philip Larson, and Steven Schick. Additional performances with Mark Applebaum conducting include the 1998 Southeastern Composers League annual conference at the University of North Carolina, Charlotte, at Illinois State University, and at Southern Oregon University.
  
  
• Quadrivium B (1995) for solo piano in four movements: Home Economics, Acting, Sexual Education, and Wood Shop. Premiered by Mark Applebaum in San Diego in 1995 at the Emerging Voices Festival. Subsequent performances include the University of Illinois and Southern Oregon University.
  
  
• Narcissus:Strata/Panacea (1994) for marimba. Premiered by Tatiana Kóleva at Darmstadt, 1994. Performed by Steven Schick at the 1994 Young Nordic Music Festival in Malmö, Sweden. Subsequent performances include UCSD, Rotterdam, Holland, Italy’s Festival Spaziomusica ’95, the Peabody Conservatory, and the University of Maryland, Baltimore County.
  
  
• Dead White Males (Lunching in the Perspectival Cafeteria) (1993) for orchestra. Commissioned by the American Composers Forum for the Carleton College Orchestra. Premiered in 1994, Paul Ousley, conductor. Performed in 2001 by the Stanford Symphony Orchestra, Karla Lemon, conductor.
  
  
• S-tog (1991) a constellation for group improvisation. Premiered in Copenhagen at Av-Art in 1991. Versions commissioned by the Merce Cunningham Dance Foundation (a collaborative event with the Cunningham Dance Company for the 1993 Minneapolis Flux-Arena-Rama) and by the Japanese ensemble, MANUFACTURE (performed in Tokyo, 1995). S-tog was also featured in San Diego at the 1993 Music Frontiers festival, performed in 1995 as a piano-duo with Anthony Davis, featured in the 1996 American Composers Forum Sonic Circuits IV tour, and performed at NWEAMO 2000 (Northwest Electro-Acoustic Music Organization Festival).
  
  
• The Plate of Transition Nourishes the Chameleon Appetite (83+83) (1992/1994) for solo violin; consists of 5 alternate formal schemes, one premiered by Irvine Arditti at Darmstadt, 1994.
  
  
• Sargasso (83+) (1992) for solo cello. Premiered at UCSD in 1995 by Eric Bartlett. Performed by Craig Hultgren at the 2001 Southeastern Composers League annual conference and at Auburn University, Montgomery.
  
  
• Mt. Moriah (1992) for string quartet. Played by the Arditti String Quartet at UCSD, 1994.
  
  
• Nepotism (1990) for string and percussion octet. Premiered by the Northwestern University Contemporary Music Ensemble in 1991, Don Owens, conductor. Also performed in San Diego on the 1993 Music Frontiers festival.
  
  
• Penumbra (1991) for solo piano. Premiered by Tobias Schwencke at Darmstadt, 1994.
  
  
• Zero-One (1991) a “performer trap” for mousetrap, a self-designed and constructed electro-acoustic percussion instrument. Written for Steven Schick who premiered it at UCSD in 1991 and gave the European premiere in Darmstadt, Germany in 1992.