Composer
Program Notes This piece is in a Hindustani raag called Hamsadhwani (‘hamsa’ means swan in Hindi, hence the title). I love the warmth and intimacy of this raag, and I love being able to introduce it into a western classical setting. NOTE: This piece was written specifically for the ABRSM syllabus, so it was written … Read more
Program Notes (from the bassoon version of Zinfandel) One of the very first pieces of music I ever wrote was a flute solo called Chardonnay, in 2000. Ten years later, when the commission came for this piece, it was with the stipulation that it be called Zinfandel. At this rate, I’m hoping to write one … Read more
Program Notes A “pathway of desire” is an architectural term for an unplanned trail that has been eroded into the ground through repeated use — such as a rut in a lawn where the dirt is exposed because people cut across it constantly. It’s not the paved, prescribed path — but it becomes discernible because … Read more
Program Notes She Will Transform You is centered around a beautiful poem of Indian-American author Neelanjana Banerjee. She speaks about the beautiful relationship of an immigrant and her child to their country of origin, and the significant role a child from both cultures has in bridging the divide between them. As a child of immigrants, I have felt both that distance … Read more
Program Notes The second movement of my Sonata for Flute and Piano begins in a Hindustani (north Indian) raga called Ahir Bhairav. I love the dark, yearning nature of Ahir Bhairav — the way it feels so otherworldly, and seems to long for a place that is just out of reach. As the movement progresses, … Read more
Program Notes Nadiya (p) means ‘rivers’ in Hindi. In this work, I imagine two different streams intersecting — pushing and pulling against one another, tripping over each other, flowing into each other to create mellifluous, cascading melodies. The piece is in a composite of two Hindustani raags: Jog and Vachaspati — both have a light … Read more
Program Notes Nadiya (p) means ‘rivers’ in Hindi. In this work, I imagine two different streams intersecting — pushing and pulling against one another, tripping over each other, flowing into each other to create mellifluous, cascading melodies. The piece is in a composite of two Hindustani raags: Jog and Vachaspati — both have a light … Read more
This is the original version of The Light is the Same, for woodwind quintet. Program Notes Religions are manyBut God is oneThe lamps may be differentBut the Light is the same Like many people, I spent the last half of 2016 trying to make sense of what was happening in our country and in our … Read more
While the original version of this work is for wind quintet, I made an arrangement for flute, oboe and piano for the Aglow Trio. Program Notes Religions are manyBut God is oneThe lamps may be differentBut the Light is the same Like many people, I spent the last half of 2016 trying to make sense … Read more
NOTE: This is a reduced version of the work — movements 1, 3 and 4, rescored for women’s choir and flute obbligato. It is designed to be more mobile and flexible, and was rearranged for the commissioning group’s touring ensemble. Program Notes The genre of women’s choral music is very special to me. The first … Read more
Program Notes This piece was originally written for violin and piano. These are the program notes for the original work. When writing this piece, to be based upon Indian folksong, I cast a wide net for source material – I scoured the internet and my large collection of Indian music, listening to everything from Bengali … Read more
Program Notes Chardonnay is one of my earliest pieces — I wrote it when I was seventeen years old, and just beginning to grapple with composition seriously. The piece is so indicative of where I was at that time in my life: it is inspired in equal parts by Debussy’s incredible solo flute piece Syrinx, … Read more