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Pieces are listed in alphabetical order. Click on a title for PDFs of scores and to learn more.
Highlights
Inspired by the Aztec myth of Coyolxauhqui and the writings of Gloria Anzaldúa, for Pierrot with percussion and optional narrator.
Coyolxauhqui (2023—13:00)
A conversation for tenor and bass trombone duet, commissioned by Border Bones.
Regateando (2023—3:30)
A Rose for Violet
2011—variable
A light, bossa nova-inspired piece. Lead sheet available in various keys.
Cielos
2020—5:00
An energetic piece based in part on the Mexican folk song “Cielito Lindo,” with a prominent clarinet part. For chamber ensemble (fl, cl, hn, perc, 2 vn, va, cel, db).
The City & the City
2012—6:00
Inspired by China Miéville’s novel, this piece for double string quartet depicts two fictional cities, while hiding a third.
Coyolxauhqui
2023—variable, ca. 12:00-15:00
Inspired by the Aztec myth of Coyolxauhqui and the writings of Gloria Anzaldúa. Four movements for Pierrot ensemble with percussion and optional narrator (movement 1 can be performed independently).
2014—6:00
A sonic exploration of the hymn “Old Hundredth” for violin, clarinet, viola, and cello. Composed for the Talea Ensemble at the Harvard Summer Composition Institute.
Doxology
2016—3:00
A showpiece for violins, written as a complement to Vivaldi’s and Piazzolla’s Four Seasons.
Equinox
2025—ca. 30:00
For Pierrot ensemble with percussion and narrator. Think Peter and the Wolf, but for Aztec legends. Workshops tentatively scheduled for Summer 2025, Boston premiere Fall 2025. Contact me to join the waitlist for the score!
Leyendas
Nora and Reshma’s Magical Tandem Bike Ride
2010—2:15
A short piece for string quartet, depicting a fantastical (mis)adventure.
Postlude
2013—variable, ca. 7:00-9:00
A meditation on history and the present for clarinet, cello, and piano, with minor theatrical elements.
Quatrain
2020—variable, ca. 1:30
Written early in the pandemic for a socially distance string quartet to perform on Zoom.
2024—5:30
A suite of four short movements, each arranging or inspired by the music of the birth states in Mexico of each of my grandparents. For violin-cello duet, commissioned by Red Cedar Chamber Music.
Regateando
2023—3:30
A conversation for tenor and bass trombones. Commissioned by Border Bones, premiered at the International Trombone Festival.
Sin Tregua
2010—3:00
This short, aggressive piece is a contemporaneous response to events in Mexico, for string quartet.
“They came first…”
2011—6:00
Inspired by Martin Niemöller’s famous (and tragically evergreen) words about the rise of fascism, for small ensemble (flute, clarinet, violin, viola, cello).