As the title suggests, (control) deals with differing degrees of control – exertion of control and release of control – “applied” to both performer and listener. The performers are asked to read a very specific score and simultaneously improvise with varying degrees of liberty.



Program Note:

The conductor raises his arm to cue the entrance of yet another majestic Russian
tune. The French horn prepares for its solo – The solo. It’s the finale of the Firebird.

In the absence of sound, a conductor’s gesture may be perceived as performative, bordering on absurd. It was Stravinsky’s


vagues / fenêtres

This piece reflects my interest in the intersection between natural and musical structures, and the nuances revealed by close listening. It also, I think, bears traces of the many hours I spent wandering with camera and recording devices through the old town and along the promenade in Nice, absorbing color, shape, movement, reflection.



Electroacoustic sextet
Commissioned by the Paul Dresher Ensemble
Composed 2002 while a graduate student at UC Berkeley, realized at CNMAT
Premiered February 28, 2003 at ODC Theater, San Francisco, CA
viola samples performed by KURT ROHDE
bass clarinet samples performed by PETER JOSHEFF
Recorded on In Sound (Tzadik) by Paul Dresher Ensemble




“Intuitivo” is a collage of free improvisations.

I recorded seven players improvising freely and separately. They received no guidelines, and they did not know what the other players would record or had recorded. Then I trimmed and juxtaposed the improvisations to create an imaginary synchronized performance.


La mar amarga

la mar amarga (2007) for piano trio
music by Cindy Cox
Graeme Jennings, violin, Leighton Fong, cello, and Christopher Jones, piano
photo from Sensitive Chaos by Theodor Schenk (Rudolph Steiner Press, 1965)