three three two is a play on the phrase itself; for example, the first and second movements are in ternary form, while the third and final movement is in binary form. throughout the piece, and especially in the first movement, san/san/er, the three-three-two ostinato is a significant motif. 3'32", the pointillistic second movement, aims to last that exact duration. lastly, TWO!!! ...and one is a celebratory final movement that uses the ideas of movements one and two, using the first half of the three-three-two rhythm and having the duration stated in the title.

this summer, at boston university's tanglewood institute summer camp, our composing program was given a week to write for orchestra. the concept of this piece was that i wanted to depict a scene in which a drone camera swoops down to reveal a bustling, underground cyberpunk city. the listener is back at the top, escaping from the dystopia that is a cyberpunk world, free again.

the word "meltdown" has multiple unique meanings in different contexts. this piece explores one such meaning — that of an environmental meltdown. images of an arctic scene slowly, then explosively progress into crashing icebergs and the cutting of trees as the piece progresses.

mvt. I: conflict symbolizes the violence of warfare. mvt. II: desolation starts with slow chords interrupted by unrelated fragments. mvt. III: death is announced by the tritone of the piano ringing forth like the bell of death.