All works and links to selected pdf files:                  

Etudes, “La Cigüeña” and “Mallets” (2014) for piano/keyboard sampler, 9’
Premiere “Mallets” at the Leo Brouwer Festival of Music, Havana, Cuba
Premiere “La Cigüeña” at the Center for New Music, San Francisco, CA
Jenny Q. Chai, Piano Steampunk

http://cnmat.berkeley.edu/publication/etudes_la_ciguena_and_mallets
 
Pianos (2013), concerto for piano/keyboard sampler with flute (bass flute, piccolo), oboe (English horn), clarinet (Bass clarinet), horn, harp, percussion, 2 violins, viola, cello, double bass, 19’
for Gloria Cheng and the Eco Ensemble, with support from the Center for New Music and Audio Technologies (CNMAT) and presented by Cal Performances
premiered in Hertz Hall, Berkeley, February 2013

http://cnmat.berkeley.edu/publication/pianos

las aguas del sur (2012), orchestra, 14′
premiered at the International Women’s Forum
World Leadership Conference
University of California, Berkeley Orchestra
David Milnes conducting
San Francisco, CA October 2012

http://cnmat.berkeley.edu/node/12447

Patagon (2012), for string quartet, 29’
commissioned by the Alexander String Quartet for their thirtieth anniversary season
premiered in Newman Hall, Santa Rosa, CA, April 2012

http://cnmat.berkeley.edu/publication/patagon
 
Transfigurations of Grief (2011), for flute (alto flute, piccolo), oboe, clarinet (bass clarinet), percussion, piano, 2 violins, viola, cello, double bass, 19’
commissioned by the Eco Ensemble
premiered in Hertz Hall, Berkeley, April 2011

http://cnmat.berkeley.edu/publication/transfigurations_grief

En espiral (2011), for orchestra, 7’
commissioned by the California Symphony
world premiere by the California Symphony, George Cleve, conducting
Lesher Center for the Arts, Walnut Creek, CA, March 2011

I do not know much about gods (2011), tape, Vox Novus 60×60 Athena mix, 1’
Dinu Lipatti Concert Hall
National University of Music, Bucharest, Romania, May 2011

Cañon (2010), for flute, clarinet, 2 bassoons, 2 trumpets, trombone, bass trombone, 21’
commissioned by the San Francisco Chamber Orchestra
premiered in Herbst Theater, San Francisco, March 2011

http://cnmat.berkeley.edu/publication/ca
 
Preludio: a fantasy, after Bach (2010), for solo harpsichord, 5′
commissioned by harpsichordist Jane Chapman
premiered at Music Sources, Berkeley, CA, March 2010

http://cnmat.berkeley.edu/publication/preludio_fantasy_after_bach

Wave 2 (2010), for clarinet, cello, and piano, 4’
Premiered in Morrison Hall, July 2010
 
Wave (2010), for piano trio, 8′
commissioned by the New Pacific Trio
premiered at Old First Concert Series, San Francisco, January 2010

The Shape of the Shell (2010), tape, 7’
world premiere, International Computer Music Conference (ICMC)
Stony Brook University
Stony Brook, NY, June 2010

The Shape of the Shell (2010) tape, Vox Novus 60×60 project, 1’
International mix
Stratford Circus, Theater Square, London E15 1BX, July 2010

The Shape of the Shell (2009) for bass clarinet and live electronics, 9’
commissioned by bass clarinettist Laura Carmichael, with assistance from the Center for New Music and Audio Technologies (CNMAT)
premiered at the National Clarinet Association Conference
University of Texas, Austin, TX, July 2010

http://cnmat.berkeley.edu/publication/shape_shell
           
Sylvan pieces (2009), for solo piano, in five movements, 25′
performed and recorded by the composer
premiered at the Chapel of the Chimes, Oakland, CA, June 2009

http://cnmat.berkeley.edu/publication/sylvan_pieces

Playing a round (2009), for two pianos, 15’
for Julie Steinberg and Cindy Cox
premiered in Hertz Hall, fall 2009

http://cnmat.berkeley.edu/publication/playing_round_0

Playing a round (2008), for amplified harpsichord and prepared piano, 17′
commissioned by keynote+
Goldsmiths College, University of London, London, UK, March 2008

http://cnmat.berkeley.edu/publication/playing_round

Turner (2008), for viola and piano, 12′
commissioned by Composers’ Inc for their 25th Anniversary
premiered by Ellen Ruth Rose and Cindy Cox, Green Room, War Memorial Building
San Francisco, 2008

http://cnmat.berkeley.edu/publication/turner

En círculo (2008), for alto saxophone, clarinet/bass clarinet, horn, trumpet, trombone, double bass, percussion, and piano, 18′
commissioned by the San Francisco Contemporary Music Players
premiered at Herbst Theater, San Francisco, spring 2009

http://cnmat.berkeley.edu/publication/en_c_rculo

la mar amarga (2007), piano trio, 14′
commissioned by Noe Valley Chamber Music and the Carol Franc Buck Foundation

http://cnmat.berkeley.edu/publication/cindy_cox

Singing the Lines (2007), for soprano, flute, clarinet, percussion, double bass, and
piano, 7′
for soprano Lucy Shelton and the Berkeley Contemporary Chamber Players

http://cnmat.berkeley.edu/publication/singing_lines

Nature is (2007), for tape, 1′
for Vox Novus, 60×60 project

The blackbird whistling/Or just after (2007), for amplified troubadour harp, 6’
commissioned by harpist Victoria Jordanova

Only one great thing sings me when I am mindful (2007), for six solo singers, 7’

Only one great thing sings me when I am mindful (2006), SATB choral, 7’ commissioned by the Volti Ensemble

Nature is (2006), for amplified trombone quartet and live electronics, 19’
commissioned by the Continental Trombone Quartet

http://cnmat.berkeley.edu/publication/nature

Hierosgamos IV (2005), for amplified troubadour harp, 7’
commissioned by Victoria Jordanova

Axis Mundi (2004), for amplified flute, clarinet, violin, cello, piano, percussion, and live electronics, 15’
commissioned by the Earplay Ensemble and the Fromm Foundation at Harvard

The Open Frame (2003), for harpsichord, 5’
premiered by Jane Chapman
Southampton University, Southhampton, UK

http://cnmat.berkeley.edu/publication/open_frame

The Other Side of the World (2003), for amplified flute and tape, 5’
commissioned by Nina Assimakoupulos for the “Laurels” project (commissioning American women composers)

http://cnmat.berkeley.edu/node/12470

Hierosgamos: Seven Studies in Harmony and Resonance (2003), for solo piano, 30’
performed and recorded by the composer

http://cnmat.berkeley.edu/publication/hierosgamos

World a tuning fork (2001), for alto saxophone, double bass, percussion, piano, and tape, 10’
commissioned by the San Francisco Contemporary Music Players

http://cnmat.berkeley.edu/publication/world_tuning_fork
                        
moon a bed to dream in (2001), for flute, oboe, clarinet, horn, trumpet, trombone, 2 percussion, harp, 2 violins, and cello, 10’
commissioned by the San Francisco Conservatory, New Music Ensemble

The blackbird whistling/Or just after (2001), for solo piano, 5’
commissioned by Sarah Cahill
premiered in Merkin Hall, New York City, 2001

De rerum natura (2000), for orchestra, 9’
commissioned and premiered by the Women’s Philharmonic
Yerba Buena Theater, San Francisco, February 2000

Hysteria (2000), for trombone and electronics, 9’
commissioned by Abbie Conant

The Cave of Swimmers (1998), for flute, cello, and piano, 15’
commissioned by the Hathor Ensemble

Back to Square One (1998), for violin and piano, 10’
commissioned by Karen Bentley
premiered in Menlo Park, CA spring 1998

http://cnmat.berkeley.edu/publication/back_square_one

Songs on Texts of Mary Oliver (1997), for soprano, clarinet, percussion, and piano, 11’

Into the Wild (1997), for amplified violin, saxophone, electric guitar, MIDI keyboard, Mallet Kat, and MIDI percussion, 10’
commissioned by the Fromm Foundation and the Paul Dresher Ensemble

Geode (1996), for flute, clarinet, cello, percussion, and piano, 17
commissioned by the Earplay Ensemble
premiered at the Yerba Buena Forum, San Francisco

Columba aspexit, after Hildegard von Bingen (1995), for string quartet, 21
commissioned by the National Endowment for the Arts
premiered by the Kronos Quartet

Primary Colors (1995), for clarinet, violin, and piano, 12’
commissioned by the Verdehr Trio
premiered in Bangkok, Thailand on East Asian tour

White Moths (1994), for trombone and electronic effects, 8’ (realized at the Center for New Music and Audio Technology, UCB, commission from trombonist Andrew Glendening),

Darsana II (1994), for solo piano, 9’
performed by the composer and premiered at the University of New Mexico, Society of Composers conference
 
Darsana I (1993), for pianist and interactive Yamaha Disklavier, 9’
realized at the Center for New Music and  Audio Technology with a grant from the Committee on Research, UCB

Barriers:  Two/One (1993), trio for violin, clarinet, and piano, 10’ (revised version for the Verdehr Trio of a flute, soprano sax, and piano work composed in 1988)

Cathedral Spires (1993), for orchestra, 17’
commissioned the Women’s Philharmonic, performed and toured by Leonard Slatkin and the National Symphony

A Tree Deep-rooted Yet Dancing (1992), for orchestra, 21’
premiered by the Indiana University Orchestra

Piece in Two Halves (1992), for flute, clarinet, piano, violin, and cello
commissioned by the San Francisco Contemporary Music Players, 12’
previewed at the Tanglewood Music Festival, and premiered by SFCMP

Elegy (1990) for solo violin, 5’
Premiered at Indiana University, spring 1990
                       
[Four Studies of Light and Dark] (1989), for piano and percussion, 14’
commissioned by Kay Stonefelt
premiered at Indiana University, February 1990

http://cnmat.berkeley.edu/publication/four_studies_light_and_dark

Coriolis (1989), for trumpet, trombone, and piano
commissioned by Andrew Glendening

Barriers: Two/One (1989), for flute, soprano sax, and piano, 10’
Premiered at Indiana University, February 1990