Arranger | Engraver | Editor | Composer

1. Six fragments for solo flute (3 fingers) [2019]

   • Note: This work was written for a summer house show put on by David Lien and Evan Anderson and marks a step in getting my original music performed. Written for my wife, Julie, it is a series of short, quirky, odd snippets that utilize only the first 2 fingers and thumb. The limitation stems from understanding the long-term effects of carpel tunnel and performance injuries.

2. Song No. 1 (Emily Dickenson) [2019] (Score)

3. Digital Environments for saxophone quartet and laptop ensemble by David Stevens and Ian Hattwick [2021] (Video)

   • When conceiving a virtual concert that draws on themes of climate models, adaptations necessary to climate change, and human interactions with environments terrestrial (Dicke’s Drill Baby Drill) and extra-terrestrial (Wiese’s Wither Away), we wanted to construct an open concept piece that directly interacts with climate and weather modeling datasets. The end result, Digital Environments, is based on climate data from the four hometowns of our quartet members — coincidentally in each of the four quadrants of America. We used the data from five years between 1896 and 2100 to guide the ensemble through varied rhythmic, pitch, and lyrical cells in relation to a drone (D4). 

     The source data includes daily precipitation, wind speed, and average temperature drawn from the Community Earth System Model (CESM). Different elements of this data were used as guides for the ensemble, such as the saxophone players using the daily temperature to guide them through pitch and rhythm material. Each saxophonist is paired with a performer from the laptop ensemble, who influence the saxophonists’ journeys by providing real-time manipulation and control through the interpretation of wind and precipitation data. The resulting composition is therefore more inspired by the climate data as opposed to being a sonification of it.

     Nonetheless, the sonic result clearly reflects that the experience of climate and climate change varies widely depending upon location. Much of the form and character of the piece is driven by the unique qualities of each location, with North Andover dominating the winter seasons, while Bakersfield and Temple perform duets during the summer months. Much as you might expect, Corvallis seems to play the role of the mediator throughout the piece, providing a constant thread around which the other performers' intersect. 

4. Watershed for saxophone and improvised electronics [2021] (Video)

   • This wild five-minute work stems form researching climate models, environment data, and necessary adaptations specific to the New England area. By culling through studies compiled by in the Resilience & Adaptation in New England (RAINE) database, I discovered a report titled Assessing the Risk of 100-year Freshwater Floods in the Lamprey River Watershed of New Hampshire Resulting from Changes in Climate and Land Use. As a sample report of the broad work being done by conservationists, environmentalists, economists, and engineers, this detailed and colorful graphic data from 2005 to 2100 shows the drastic effects of Lamprey River on its surrounding area called the Lamprey River Watershed. With the saxophone imagining the journey through the watershed and through 100 years, the electronics heighten the drama of the solo to reflect the river overflow as well as potential damage to facilities and bridges without the necessary adaptations and preparations.
     

Charles Shadle: String Quartet No. 4 (2020)

Charles Shadle: A Tale of My Native Lands, No. 2 & 3 for solo piano

Charles Shadle: Choctaw Animals for not-too-difficult solo piano (Featured in MIT News)

Robert Honstein: Chasing Chaplin Documentary Score

Robert Honstein: Juvenalia for solo percussion and orchestra

Stratis Minakakis: Skiagrafies III for wind ensemble