New Publications and More!

(Note: this blog post was originally published on my Buy Me a Coffee page on 17 September, 2021. This version has been slightly edited)

As autumn comes upon us I’m as busy as always, my friends.

First, I had the great honor recently of having one of my choral works – my 2020 setting of Kyrie Eleison (for unison chorus and organ) – performed last week for one of the morning services at the Memorial Church at Harvard University.


I’ve recently begun publishing some of my older piano works. Solo piano music is underrepresented in my compositional catalog, so, in addition to a couple newer piano pieces, I’m adding some of my better student works.

The most significant of these publications is Three Piano Preludes, a work I composed in April 2012, and which was my first publicly performed composition.



I’m working on – and have almost completed – the remastered/corrected The Cat and the Canary soundtrack.

(The new back cover art for The Cat and the Canary soundtrack. Naturally, this remastered/reissued version contains new cover art; both front and back).

Not all the tracks have required equal attention. There were a few that I basically left untouched (Track 5, “Aunt Susan and Cecily” is one such track). However, most of the tracks have at the very least been cleaned up a bit.

Two of the tracks have had to be completely reconstructed, though. Nonetheless, as of my writing this, the remastering/reconstructing of the soundtrack is about 95% complete. I’m hoping to have The Cat and the Canary soundtrack released sometime within a week from today.

I recently updated the layout of my YouTube channel.The new layout is especially helpful for those becoming acquainted with my music for the first time. It will also prove helpful for those familiar with my work but who might like to dig deeper into some area or other of my compositional activity.

I’m on schedule for completing the projects I want to complete before Advent, and I’ve already begun planning some new compositional projects for after the new year. It is likely that the bulk of my future compositional work will be organ and choral music.

I’m quite proud of the work I’ve done this year, particular in film music, which is where I’ve focused most of my work during this time, composing a total of seventeen film scores; two of which were feature-length scores (over ca. 70 minutes), one which was of relatively shorter length (Frankenstein), and many film “shorts,” mostly by Georges Méliès and Segundo de Chomón.

I’ve also composed and recorded many electronic pieces this year, as well as many rock tracks.

Of the electronic tracks I’ve composed and recorded so far this year, I’m particularly proud of two,

Cobwebs, composed/recorded in April:

and Eros, composed and recorded in August:

Of the rock tracks I’ve recorded so far this year, I am particularly fond of Abigail (composed/recorded in July) (this track is a hard rock re-imagining of September, a soft rock track I recorded in 2019):

and Fritzi Always Has Me Coming Back, composed/recorded in April:

Thanks for checking out this blog post!

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