Commissioned by the Quapaw Quartet with a grant from the Fromm Music Foundation.
Transfiguration depicts a personal revelatory moment, like an encounter with the Divine. The biblical accounts of Jesus' Transfiguration were the impetus for this piece, however it is not a programmatic retelling of the story. Rather, it is a musical expression of a contemplation of the story's meaning.
There are three connected movements: Allegro con brio, Allegro, Largo.

Composed for the Sunaura Trio. The even numbered movements consists of a lively unison melodic line in sixteenth notes followed by three canons. The fourth movement takes the unison line of Movement 2 and renders it as a canon with entrances one sixteenth note apart. In Movements 6 and 8, the canon entrances are two and three sixteenth notes apart, respectively. The effect of these canons at short time intervals is perhaps analogous to viewing an image through beveled glass. Each player has a solo movement--clarinet in Movement 3, oboe in Movement 5, and flute in Movement 7--which is derived from the same basic material, but presented differently. The working out of these differences suggested links to pieces by early 20th Century composers, Berg, Bartok, and Ravel, which are quoted near the end of each movement. The Prelude and Postlude share symmetrically related material.

Commissioned by the Prizm Duo.
The title is taken from St. Paul's first letter to the Corinthians (1 Cor. 13:12): 'For now we see in a mirror dimly, but then face to face. Now I know in part; then I shall understand fully, even as I have been fully understood.' Throughout the work, various pitch and time structures (in both the foreground and background) are used to represent the symmetry of an object and its reflection in a mirror. Musical palindromes and inversionally related pitch materials are obscured by canons, echo effects, dynamics and multiphonics. Thus, some passages are clearly symmetrical while others appear less so. It is hoped that the effect of these formal constructs is this: when one hears them clearly, one does not hear the totality; when one attempts to hear the totality, one does not hear it clearly.