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

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

Drink The Wild Ayre (for string orchestra) is 12:30 piece for harp and string orchestra that is, by turns, mysterious, rhythmic, dancing, and lyrical.

A 21' seven-movement orchestral work about memory and photography, with optional film by Deborah Johnson.

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

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

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.

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

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

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

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

(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.

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

5:30 for flute and piano

(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.

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.

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

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.

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

'Embrace' is a 39-minute narrative ballet choreographed by British choreographer George Williamson, commissioned by Birmingham Royal Ballet. "Best New Ballet" (Dance Europe, 2018)

(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

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

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.

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.

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

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.

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

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

(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

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

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

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

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

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

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

8' work for mixed quintet.

9' work for mixed chamber octet

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

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

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

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

(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.

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

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

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

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

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

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

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

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

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

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

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

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.

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.

3:30 work for solo piano

Words by William Blake.