I am a pianist and a composer of experimental electroacoustic music, creating immersive, multisensory environments that integrate sound, body, and printed matter. Working with acoustic instruments, concrete sounds, and sample libraries, I compose chamber, orchestral, and fixed-media electronic music for the concert hall, theater, dance, installation, and video.

Inspired by many sound practices with backgrounds in neue musik, Jazz, and cinematic sound, my work intermingles techniques of foley, sampling, field-recording, lip-syncing, and pre-recorded music with live performance of notated scores and improvisation.

I have received commissions from the Los Angeles Philharmonic, New York Youth Symphony, Albany Symphony, Gaudeamus Muziekweek, Dutch National Opera, and National Theater Mannheim. Further performances have been presented by Carnegie Hall, Roulette Intermedium, Calarts REDCAT, Muziekgebouw aan ’t Ij, and Shanghai Symphony Hall. My work has been privileged by the interpretation of Tariq al-Sabir, Lucy Dhegrae, Ashley Walters, and Vicki Ray, as well as ensembles including Talea, Contemporaneous, Ensemble Klang, and Asko|Schönberg.

Nominated for the prestigious Gaudeamus prize for music composition in 2017, I have been awarded fellowships with the Belgian American Educational Foundation and American Jewish University. My work Swan Songs was developed in residencies at the Owl Music Parlor Brooklyn, Los Angeles Dance Project, De Bijloke (Ghent). My recorded works include Read Me, a chamber music project produced by Shahzad Ismaily, and Rio Nilo 66, a duo album with Sam Gendel. My site-specific performance piece TSTCHM was recently acquired by the Jüdisches Museum Frankfurt. An active pianist and improviser, I have performed at Rewire Festival, Martin Gropius Bau, FFT Düsseldorf, and 11. Berlin Biennale, honored to accompany such musicians as Jarrett Gilgore, Peaches, Sam Gendel, and Nkisi. 

A frequent collaborator of Berlin’s Solistenensemble Kaleidoskop, I have composed, music directed, and sound designed extensively for a range of interdisciplinary projects. Some artists with whom I’ve closely worked include Isabel Lewis, Adam Linder, Shahryar Nashat, Sissel Tolaas, Loretta Fahrenholz, Ariel Ashbel, and Justin Kennedy. My interdisciplinary projects have received broad attention across Europe and the US with presentations by Portland Institute of Contemporary Art, Swiss Institute NYC, Istituto Svizzero Rome, Künstverein Köln, Kampnagel Hamburg, Hebbel-am-Ufer Berlin, Staatsoper Hanover, LUMA Arles, Kunsttage Basel, and Statens Museum Kunst Copenhagen.

My upcoming projects include TOURNAMENT, an agonistic dialogue between musicians and dancers with Adam Linder and Kaleidoskop premiering in Hamburg; Intimation of Endless Space Given in a Small Window of Time (approximately 10 minutes), an evolving exhibition of sound, objects, and image made with Lina Grumm (HIT) at Artspace Aotearoa in Auckland and the support of Goethe Institut; and Turn, a collaboration with Gob Squad and Kaleidoskop, premiering at Vienna’s Burgtheater and entering repertoire at Berlin’s Volksbühne.

I studied music composition at UCLA (BA cum laude, Phi Beta Kappa), Peabody Institute of the Johns Hopkins University, Royal Conservatorium Den Haag, and Yale University where I received a DMA in composition, working as teaching artist in New Haven Public Schools, and as a teaching fellow with professor Michael Veal. My teachers include musicologist Susan McClary, pianists Gloria Cheng and Alan Pasqua, and the composers Liviu Marinescu, Oscar Bettison, Peter Adriaansz, and David Lang. I have benefited greatly from lessons, seminars, and masterclasses with Mark Andre, Beat Furrer, Pierluigi Billone, Susanna Mälkki, Klaus Lang, Mayke Nas, Richard Barrett, Gerald Barry, and Anna Meredith. My doctoral thesis on the self-presentation of Karlheinz Stockhausen was published in 2018 by Perspectives in New Music.