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The title was inspired by the term from Star Trek where warp engines would bend time and space to propel the ship at incredible speeds. Exploring relationships between time and space in a musical sense, this work begins with motives and fragments free-floating in space. These gradually build in energy and motion until coming into phase with one another. After this cadence, a motor section expands and develops the previous free-floating motives over driving, repeated patterns. As the speed increases, these motives fade in and out of phase with each other until the motives come back into phase at "warp speed" in the exciting finish. Learn More

with Piano: The 1st movement alternates between free, cadenza-like material and metered, coordinated passages. The 2nd is playful with soaring, lyrical melodies. Commissioned for Diane Boyd, premiered at the 2000 N.F.A. Convention in Columbus, Ohio. Learn More

with Piano: This beautiful and mysterious work follows the form of the poem "The Emergence of Night", also written by the composer. Learn More

with Organ: In 3 movements: Introit, Sanctus, and Gloria. Each movement expresses the nature of that part of the liturgy to the composer. Introit opens with a formal invocation via a melodic 12-tone row in the trumpet, which warms into flowing melodies when joined by the glowing sonorities of the organ’s chorale. In Sanctus the quiet but powerful nature of reverent worship, images of the holy flames above the Ark of the Covenant, and the definition of holy: “being set apart” find musical expression. In the third movement, Gloria, brilliant gestures of unbridled joyful praise burst forth, culminating in the final section where themes from all three movements combine to form a thrilling conclusion. Liturgical Impressions has been recorded by trumpeter Grant Peters and organist Charles Ore on the CD “Friendly Amendments: New Music for Trumpet and Organ by American Composers.” Learn More

Oboe, Clarinet, Alto Sax and Bassoon: This reed quartet was inspired by the gently undulating waves, shimmering moonlight on the surface, and gentle brezzes of the ocean on a quiet evening in a warm, tropical part of the world. Rolling gestures in the accompaniment compliment the gentle melodic theme, with the occasional call of the seagull. As the work draws to a close, the wind and waves still, lulling the final saxophone melody into blissful sleep. Learn More

with Piano: In 3 movements: Con Forza, Adagio, and Allegro Pesante. Inspired by the neo-classical “Gebrachmusik” of Hindemith, this early work by the composer builds upon the traditional sonata form. Contrasting themes in the the first movement are developed and combined in numerous manners within a modified sonata allegro form. The second movement uses a derivative of the Russian folk tune, “Bears Are Sleeping” for its second theme within a ternary form. The third movement contrapuntally combines and develops themes in a virtuosic, modified rondo. Sonata for Trumpet and Piano has been recorded by Grant Peters on the CD “From the Hills.” Learn More

with Piano; Queen Hatshepsut was one of the most enigmatic and interesting figures in ancient Egyptian history. She was the only woman to ever rule as "pharaoh" at a time when only males were allowed to hold that position. For this reason she is often depicted in carvings and drawings of the period wearing a beard or a man's clothing. She also had a secret love affair with an architect named Senmut, who designed many beautiful buildings in her day, including the dramatic Deir El-Bahari temple carved out of a jagged cliff in Thebes. Since no music of that period survives, this work is an imagining of a secret chant and private dance Hatshepsut may have performed for Senmut. The work begins with strange and beguiling chants in the bassoon, including exotic "multiphonics." (Bassoon fingerings for the mutiphonics are included with the score and part.) These are accompanied in the piano with musical gestures reflecting the closing of large, stone,tomb doors, marches of the temple priests, and amagical sprinkling of ancient chords. The dance that follows is in the spirit of the infamous "Dance of the Seven Veils," in which, during each section the female dancer sheds another layer of covering and increases the pace. beginning slowly, each of the seven sections build in peed and motion leader both the dancer and her audience into a furious, wild, spinning finale. Learn More