During my early and undisciplined years of piano, the lines between improvisation and practice were blurred. Passages of music my brain or underdeveloped technique couldn't yet cope with were replaced with, what seemed to me, convincing substitutes. Later, the required precision and intensity of conservatorium study crystallized this improvisatory impulse into the fields of composing and performing. Initially, this ignited a struggle about my aims and identity as a musician, especially when teaching, accompaniment and music journalism was added to my regular schedule. However, this struggle seemed evident of one thing: an intense desire to cultivate, discipline, develop, deepen, and expand my ability to express through music for the rest of my life. For the time being, composing is my primary vessel for this goal.


In my compositions, I draw on an eclectic range of influences including Contemporary Classical, Jazz, Metal, EDM, 14th-18th Century Classical, and Non-Western Music. I am also inspired by a range of non-musical sources including the visual arts, TV, movies, psychology, theater, technology, literature, philosophy, mathematics, science, politics, and nature. Each time I compose, I commit to 2 main ideals. The first ideal is to write music of expressively clear and powerful surface quality while housing carefully crafted layers of meaning, colour, and detail beneath that surface. The second ideal is to convey primarily contemporary events, and issues with empathy and thoughtfulness.


Music education is another passion of mine and I spend much of my time tutoring composition and music theory​. It is a great joy to teach the tools, grammar, and building blocks of music, revealing the interplay of objective and subjective ideas and forces. Most importantly, it is an opportunity and privilege to enhance people’s relationship with sound, silence, and creativity. Great musical educators have been a great source of empowerment beyond in my personal and musical development and I strive to do the same for others.

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