Videos of Live Performances

I also upload videos to my YouTube channel!

The Thirteenth Hour (2026)

The Thirteenth Hour is a combination of both an elegy and an ode to the past and future. The music begins in a state of cold reflection, filled with the sorrow of loss and the bitterness of change. But naturally, change is unavoidable, and the music begins to grow in that feeling of anxiety until it reaches a point where there’s nowhere left to go but forward. The slow lament transforms into a chilling dance, and the effects of a ticking clock drive the music forward. It unravels into moments of chaos, joy, defeat, and ultimately desperation, with the passage of time affecting it more and more until a climactic breaking point. The sounds of clock tower bells chime out above musical swells throughout the ensemble, as the music reaches its thirteenth hour – the moment that comes next. We can’t predict the future, but it always reaches us anyways.

Performed live by the University of British Columbia Symphonic Wind Ensemble, under the direction of conductor Cheng Xin Ip, at the Chan Centre for the Performing Arts on March 25, 2026.

The Rusted Jungle (2025)

Composing music from the ground up can often feel like a monumental juggling act of planning, writing, and construction. Musical gestures need to be built piece by piece like a highrise gradually being brought to life out of blueprints. The Rusted Jungle is a project exemplifies the gradual buildup of meticulous planning and complexity that sprouts out of an original jungle of musical ideas during the compositional process. It follows a short journey from a starting point of a lush natural jungle and the following gradual architectural growth of melody and intensity that builds out of it, but it doesn’t stop there. As it continues snowballing in intensity, the texture grows denser, more instruments enter the fray and the tempo increases as if each instrument is in a race against themselves. Like a distorted city’s skyline growing out of the original landscape, the music continues to grow constantly more complex, chaotic, and artificially rhythmic, before finally bursting at the seams in a grandiose finish, as the structure reaches its completion: the hybrid landscape of a rusted jungle.

Performed live by the University of British Columbia Symphonic Wind Ensemble, under the direction of conductor Cheng Xin Ip, at the Chan Centre for the Performing Arts on November 19, 2025.

Portals (2025)

How much can be done with a single melody? Portals is a project in which I endeavoured to see just how far I could push that question. Beginning with a simple melody, the piece quickly takes a turn and whisks the melody through a plethora of different tonalities, polytonalities, styles, extended techniques, tempos, metres, etc. It was a ton of fun to work on this project alongside the talented people at CMI, and I'm very pleased with the result!

Performed as part of Winnipeg's Contemporary Music Interactive inaugural concert series. Visit https://www.cmiwinnipeg.ca/ for more information.

the veil is thin, and sometimes is plaid. (2025)

This piece is written as series of variations on two contrasting themes. One
theme is a melody of my own creation, lightly inspired by the Gregorian Dies Irae (for no
particular reason). The second theme is plaid. Of course, this is a humoresque theme
taking a well known melody, Scotland the Brave, to represent what it has become
known for in popular culture over the last two decades: ridiculously over-exaggerated
comedic characters. These two themes of seriousness and ridiculousness alternate
back and forth through a series of stylistic variations, ranging from a postmodern tango
with intermittent cluster chords, to a familiar romantic sinfonietta, and a chilling yet
soothing lullaby.

I should probably mention the elephant in the room: the bucket. But I won’t.

Performed for the University of Manitoba's 2025 Saxophone Studio Recital.

Rose and Chartreuse (2025)

This piece follows the path of two characters representing the wind and the sky. Beginning in icy coldness and solitude, and gradually finding what exemplifies themselves in the other, and evolving into a flowing and beautiful dance. The music brings us through moments of sadness, excitement, turmoil, storm, and solace, all travelling through a whirlwind of colours.

This was the largest and final piece that I wrote for my undergrad, and it was so much fun to work and cultivate this music with the U of M Wind Ensemble, which ended up becoming like a family to me through the years.

If you ask me why I chose the title Rose and Chartreuse in particular, I'll say that it's a quotation to a poem I wrote. If you ask me to read it, I would probably say no.

Performed live by the University of Manitoba Wind Ensemble, under the direction of Dr. Jacquie Dawson, at the Desautels Concert Hall on February 14, 2025.

Night Drags By (2024)

As a composer, writing this piece of music felt like painting a picture. Imagine a scene of an immense cargo ship, sinking into the ocean in the dead of night. The chaos of rescuing any people on board has already past, and all that remains is an empty husk of metal and rust slowly sinking out of sight into the inky depths. It is less than lonely. A ship that nobody ever knew or cared about, sinking away to be forgotten forever.
I paint this scene in three parts throughout the piece. The first represents the tides and current near the surface of the water, as the helpless ship begins its plunge. Parallel planing motion and wave-like melodic motion decorate this section. The second represents a moment in time where the ship is cascaded in refracted moonlight just below the ocean’s surface, marked by a shift to major tonality and a shimmering cello melody. This section is meant to capture one moment of absolute beauty that no person is around to witness. Finally, the third section represents the ship’s final descent into the lightless depths of the ocean, never to be seen again. The use of extreme registers across instruments paints the distance between the surface, where rain begins to gently tap the water, and the cold seafloor, where the ship eventually reaches, with a low piano cluster chord to mark the impact of steel on silt at the bottom of the ocean.

Performed live by Vancouver's Standing Wave Ensemble in February 2025.

Sea Gate Reborn (2024)

The choice of instrumentation came after I decided what technique to focus on in my composition; Arvo Part’s tintinnabuli style. I have heard a lot of vocal music using the tintinnabuli technique, such as Arvo’s De Profundis, and it all sounds extremely flowing and mystical, and it is a great fit for vocal music. With that said, I am an instrumentalist, and I am most comfortable and passionate when writing instrumental music, so I asked myself what instruments are the most flowing and, for lack of a better word, creamy. I wanted instruments that could evoke very warm and heartfelt colours, while blending with each very well. In my mind, clarinets and cellos are the obvious picks for that purpose. The title “Sea Gate Reborn” and the subtitle “Restoration and Declination” come from the form of the piece, and how the entire first section focuses on building up and restoring the music to glory, and the second section focuses on the music gradually crumbling apart, as all things do in the passage of time. The second section, while still relying on tintinnabuli in between parts, also focuses heavily on set theory, using a specific set of intervals the entire time in the clarinet melody, as well as the technique of rhythmic deconstruction, as popularized by Steve Reich, in which the motive present in the cellos very gradually falls apart, piece by piece.

The title, of course, has a secondary inspiration to one of my favourite cards from one of my favourite games.

Performed for Winnipeg's 2024 Cluster Festival.