A 20', single-movement string quartet about grief and loss of innocence. Awarded an American Composers Forum Jerome Commissioning Award.

6' work for solo piano, in homage to Chopin and Debussy.

A song for soprano, harp, and string quartet -- or, soprano, piano, and string quintet -- with text by Sarah Kirkland Snider, based on prose by Hildegard von Bingen.

An instrumental-only arrangement of a song inspired by the writings of Hildegard von Bingen.

4' for soprano and two violas; text by Ivanna Yi. About discovering one's identity.

(2006, Arr. 2015.) 4' song for Soprano, Violin, Cello. Text by Ivanna Yi. About discovering one's identity.

9' work for mixed chamber octet

9' work for mixed sextet (with two doubling players.) See octet version for non-doubling players.

(2005, rev. 2012) 14' work for full orchestra. A meditation on unspoken words.

Drink The Wild Ayre (for string orchestra) is a 12:30 piece for harp and string orchestra that is, by turns, dancing, elegiac, mysterious, fiery, and rhapsodic.

A lyrical and rhythmically-challenging single-movement piece for string quartet.

A New York building reflects on its current and past history -- an elegiac, wistful, devotional song for soprano, tenor, and piano.

Embrace is a 39-minute narrative ballet choreographed by British choreographer George Williamson, the inaugural commission of Birmingham Royal Ballet’s new Ballet Now program.

An elegiac, lyrical song for soprano, baritone, and piano about the weight of the past in relationships, on a poem by Tracy K. Smith.

A 22' eight-movement orchestral work about memory, innovation, and cultural transformation, with optional film by Deborah Johnson.

(2012-2013, arr. 2016) Duration: 23′. Words by Nathaniel Bellows. Songs: I. Prelude, IV. The Guest, V. The Slaughterhouse, VII. The Swan, VIII. The Witch

15' work for full orchestra inspired by the American women's suffrage movement; a meditation on faith, doubt, and what it means to persevere.

7:15 work for SSAA Chorus. Text by Nathaniel Bellows. A meditation on identity, home, and place.

A two-act chamber opera on a libretto written by Sarah Kirkland Snider.

27' work for full orchestra and optional film by Mark DeChiazza. A meditation on home, memory, loss, and nostalgia.

‘Honora Te’ is a 7.5-minute work for SSA and piano, commissioned by Voces Solis, based upon music from my 2025 opera, ‘Hildegard.'

4' song for soprano, mezzo, or tenor and piano. Words by Jonathan Breit.

18', six-movement work for dectet based on music from The Blue Hour.

An aria from the HILDEGARD opera; text by Sarah Kirkland Snider.

9' nonet for mixed chamber ensemble. A reflection on the process of transitioning from life to death.

6' -- a short, colorful opener -- by turns introspective, ebullient, and joyous.

Words by William Blake.

11' impressionistic orchestral tone poem, inspired by the sea and oceanic movement.

A 45', six-movement Mass for SATB Choir + 12 instruments on text by Nathaniel Bellows and the traditional Latin, on the subject of endangered animals and the global environmental crisis.

A short aria from the opera HILDEGARD; text by Sarah Kirkland Snider.

A 7' lyrical work for chamber ensemble that is by turns introspective, mysterious, and dream-like, inspired by musical quotes by Hildegard von Bingen.

An 18' work for SSA Chorus, string quartet, two percussion. On text by Nathaniel Bellows about grief and the circular nature of time.

An original arrangement of the 12th-century chant by Hildegard von Bingen, for soprano and string quartet.

8' work for mixed quintet.

5:30 for flute and piano, or flute and marimba

3:30 song for high voice (soprano, mezzo, or countertenor) and piano. Words by Noah Dobin-Bernstein.

(2008, arr. 2019) Best arr. for staged/semi-staged productions. Duration: 60′. 11-song cycle (with three instrumental interludes.) Words by Ellen McLaughlin. Songs can be performed separately.

Instrumental-only tracks from Snider's acclaimed album, Penelope, performed by Ensemble Signal.

(2008, arr. 2011) Duration: 60′. 11-song cycle (with three instrumental interludes.) Words by Ellen McLaughlin. Songs can be performed separately.

(2008, arr. 2010) Duration: 60′. 11-song cycle (with three instrumental interludes.) Words by Ellen McLaughlin. Songs can be performed separately.

(2008, arr. 2019) Identical to sextet arr but with guitar/egtr. Duration: 60′. 11-song cycle (with three instrumental interludes.) Words by Ellen McLaughlin. Songs can be performed separately.

(2008, arr. 2019) Best arr. for staged/semi-staged productions. Duration: 60′. 11-song cycle (with three instrumental interludes.) Words by Ellen McLaughlin. Songs can be performed separately.

3:30 work for solo piano

7:30 song for male vocal nonet, optional piano. Text by Nathaniel Bellows, about American immigrants working in the agrarian tradition of years past.

A mysterious, impassioned, dramatic work for choir and ensemble, on an interleaving of poems by French Surrealist poets Céline Arnauld and Robert Desnos.

Five songs (18') from Unremembered, arranged for choir/vocal octet and piano.

(2013, arr. 2015) Duration: 18′. Five songs from Unremembered. Words by Nathaniel Bellows. Songs: 1. The Guest 2. The Slaughterhouse 3. The Girl 4. The Swan 5. The Speakers

6:30 work for trombone, harp, viola, and marimba.

A 12' work for full orchestra on notions of resilience, inspired by a poem by Philip Levine. The 2014 Detroit Symphony Orchestra Elaine Lebenbom Prize Commission.

11' work for two sopranos and harp. Text by Gertrude Stein from her eponymous poem. Music about alienation and forgiveness. Yale University John Day Jackson Prize for Best Chamber Music Composition

11' work for two sopranos (can also be SSAA choir) and harp, words by Gertrude Stein. Music about alienation and forgiveness. Yale University John Day Jackson Prize for Best Chamber Music Composition.

16' set of songs for soprano and mixed nonet. Text by Ivanna Yi, on the theme of identity.

70' collaborative song cycle for mezzo and string orchestra, co-composed with Rachel Grimes, Angélica Negrón, Shara Nova, and Caroline Shaw. Text by Carolyn Forché.

7:30 piece for solo piano commissioned for the American Pianists Association Classical Fellowship Competition.

A short aria from the opera HILDEGARD; text by Sarah Kirkland Snider.

A 4' work for solo piano, written for Adam Tendler's 'Inheritances' project. About the way that natural landscapes from our past can feel both grounding and surreal.

10' work for solo cello, inspired by a poem by John Ashbery.

An arrangement of "The Swan" from Unremembered, 4', for mezzo-soprano and piano.

4:30 work for bass clarinet, viola, and marimba.

A set of three songs from Unremembered for soprano and orchestra: The Guest, The Swan, The Witch.

An hour-long song cycle for three vocal soloists, chamber ensemble, and electronics.

2013; arr 2017. Words by Nathaniel Bellows. An hour-long, thirteen song cycle for three vocalists, chamber orchestra, and electronics. Songs can be performed separately.

Instrumental-only versions of all tracks from the acclaimed Unremembered album.

2013; arr 2017. Words by Nathaniel Bellows. 57'; Thirteen Songs for seven voices, chamber orchestra, and live electronics. Songs can be performed separately.

Two songs, 12', for mezzo, viola, and orchestra. Conceived for youth orchestra. Words by Ivanna Yi. 1. Violin 2. Chrysalis

A 20' lyrical and dramatic work for baritone and orchestra on a bespoke poem by former U.S. Poet Laureate Tracy K. Smith.

A 6:15 work for Pierrot + percussion. Optional field recording ("tape") accompaniment.

Text by Hilma af Klint, translated by Christine Burgin. 7' for SATB chorus and percussion.