Projects
The ongoing work around the catalogue: performing, arranging, and the creative projects that don't fit neatly into a work list.
A long-form novel in progress about a young woman who rebuilds her sense of safety around a broken, neglected piano — and what happens when it's restored to a clarity she was never prepared for. Woven through with Ravel's Pavane pour une infante défunte and Dostoevsky's White Nights, the story is written with two divergent endings from the same turning point.
Performing as a violinist with the Lapeer Symphony Orchestra. Sitting inside a section on the performing side keeps my writing honest about what music actually feels like to play, not just how it looks on the page.
A crew role in a school theater program — a different kind of ensemble work, focused on what happens behind the scenes rather than on stage.
I'm early in my career, but the way I like to work stays the same regardless of scale: start with a real conversation about who's actually going to play the piece, what they're good at, and what the group needs that it doesn't already have.
For commissions and arrangements, I write to the ensemble in front of me rather than to a general standard of difficulty — a piece should flatter the players you have and still give your strongest people something to reach for. I build in real time for a first read-through and a revision pass afterward, because that's usually where a piece actually gets finished.
Commissions, arrangements and collaborations are all open. Tell me about your ensemble and what you need.