“…a deceptively carefree title for a piece bubbling with dark undertones and sharp humor.”
Harvey Steiman for The Aspen Times, regarding orchestral composition How to Relax with Origami
“…Currents of Turkish and Latin American folk music yield a zesty, off-kilter march that crops up throughout the piece like the ritornello of a Baroque rondo.”
Allan Kozinn for The New York Times, regarding chamber composition Cloud Forest
“Two sopranos sang texts in an invented language, which meshed colorfully over a creatively wrought electronic tapestry.”
Vivien Schweitzer for The New York Times regarding the electroacoustic composition Seeress
“Clarinetist Conor Brown … did an admirable job with the klezmer inflections.”
“The desert of Nevada is captured beautifully… It doesn’t feel threatening and you can see how Alex can feel safe in solitude. The [film’s] score … makes sure it doesn’t come across as a haunted godforsaken place.”
Ronak Kotecha for ReviewRon regarding the film score for Unconformity