My music theatre works are meditations that interpret classic and created ritual through tonal association. In recent years these works have become more personalized. Some of the material has evolved from daily practice and some becomes daily practice.

The harp is my primary instrument so I follow a tradition of instrumentalists writing for their instrument. What propels the creative process varies but usually embodies some form of communication.



_sound documents (2005) are explorations in spontaneity and acceptance. Nine events are recorded usually in the time span of an hour. The events are mixed into one continuum which becomes the sound document.

_The Qabalist system of tonal correspondences are the backbone of The Faerye Invocations (1998) & Valentine Stigmata (2001). As a ritualist my work is rooted in Hermetic western mysticism evolving a personal Thelema.

_The strength and orchestral quality of the harp as a solo instrument a fundamental tenet in the pedagogy of 20th century harp pioneers, Carlos Salzedo and Lucile Lawrence, is one that I strive to continue. Experimentation in extended techniques and electronic processing provided a palette for expressions of psychological concepts such as the shadow work for Fragrance of the Blue Lotus-music with shadow (2005) as well as the soundscape possiblitites of 44 Minutes on the Flatline_A Cry For The Millenium (1999). The experience of playing my harp in rock festivals and goth rock clubs generated some of the darker soundings.

_Participation in Kyklos ton Asterion a NYC Thememic Wiccan group fueled the singer songwriter series Folkart Songs and Spirituals (2004-5).

-Somna 2010