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for trombone and piano - 5'×
trombone sonata
As my first work featuring solo trombone, my goal was to write a fun and approachable composition while referencing other composers and their respective artistic signatures: the first movement alludes to Paul Hindemith’s rigidity and Igor Stravinsky’s humor; the second to Francis Poulenc’s unabashed sappiness and Sergei Prokofiev’s grandiosity; and the third to Offenbach’s Can-can, Franz Liszt’s Grand Galop Chromatique, and Conlin Nancarrow’s Studies for Player Piano.
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for two bassoons - 8'×
lipstick rhapsody
This work’s title comes in two parts: Lipstick references Trace Peterson’s musings on trans identity in her poem “After Before and After:"
I can find the edge
of the cunning, supposedly
clear window that
divides us from the world
of Michael Kors, that
divides a kiss from
its aftertaste.
Rhapsody references the work’s episodic form. The first section is like an internal monologue: disjointed and dysphoric. The second section unleashes a pent up energy, swirling around in chitter-chattery counterpoint. The third section curls inward, concluding in a dark lament.
Slow music gives way to fast music and then slow again. However, every section is in the same tempo (Fast but slow), a superposition of my excitement to quickly understand my identity and my hesitancy to make it known. -
for two pianos - 13'×
mozschubartsibinsky
In a distant future, entertainment scientists will create a monstrous, five-headed android made from organic materials. This ultimate musicking machine will be powered by an advanced AI program trained on symphonists from the 18th, 19th, and 20th centuries. This android, Mozschubartsibinsky, will have taken its name from five ancient composers who, to this future society, have become obscure and even forgotten: Mozart, Schubert, Bartók, Sibelius, and Stravinsky.
Recently, contemporary scientists have stumbled upon transmissions from this distant future leaking from a wormhole. Among the thicket of garbled sounds and blurry images they received a staticky audio file of what we now believe is music written by this Mozschubartsibinsky. I was hired by the government to transcribe, interpret, and reassemble this music for further study. I have taken a few liberties in piecing together what sounds to be a mix of musical approaches. This piece may give us insight into a future world where humans have lost interest in original music-making and mastered artistic imitation through artificial intelligence. -
for flute and piano - 5'×
phantoms
Back at the start of 2021, I knew I wanted to write a set of pieces for flute and piano based on sea music: shanties, boat songs, and the like. This was probably motivated in part by Tiktok’s sea shanty craze.
Skip to fall 2021 and I am asked to participate in the University of Indianapolis’s Communiversity theme, Moby Dick. I admit that I had not yet read the classic, but thought this to be the perfect opportunity to dive in. It took twelve chapters to realize the weight of this undertaking.
Given that I had only a short period to write a composition inspired by the work, I opted instead to watch the John Huston’s 1956 movie and read a collection of academic papers on the work’s symbolism. One such paper pointed to the word “phantom” and its multi-meaning use throughout the text. “Phantom” can of course represent the all-white and elusive Moby Dick, or Fedallah and his cryptic crew who appear lifeless and speak little as if floating aboard the Pequot as ghosts. Most interestingly to me, however, is that “phantom” can reference the restlessness in life that even in death is unquenchable. This drew me to the source and inspired my writing most.
My response to Moby Dick is inspired quite literally by this multi-dimensional understanding of “phantoms.” You will hear a capricious form that moves slowly then dances on whim like an untraceable specter. And there is still plenty of sea music to be had: the opening whistle tune that calls out from top the ship, the jaunty jig at the climax of the work, and the folksy ending that sinks to the depths, passing by reefs, joining the Pequod in its watery grave. -
for flute, clarinet, and marimba - 6'×
lightning bugs
The little bugs with lights for butts—scientifically known as Lampyridae, colloquially known as fireflies, glowworms, or lightning bugs—are disappearing. Recent studies have suggested that anthropogenic light pollution may be one reason for their dwindling population.
These friendly summer beetles rely on their bioluminescent bottoms to communicate with one another. Scientists have observed that bright lights from cars and buildings may be causing them to desynchronize, leading to reduced opportunities for mating.
Lightning Bugs tells the wordless story of a group of lightning bugs who find one another, dance together, and desynchronize. -
for oboe and piano - 13'×
follies
I was commissioned to write a set of variations on the infamous la folia, a feat attempted by many composers through the centuries (some successfully so). I was asked to modernize the old progression, and I must admit that while I did that in my own way, much of my approach is rather traditional. However, as with most of my music, the formalist starting point for this piece gives way to unique solutions to old problems.
Follies’ eleven variations can be heard as a three-part, fast-slow-fast form. The first part is centered around standard musical forms: a prelude, an etude, a concerto, and a fugue. Prelude on an olden theme introduces the la folia progression. As the piano churns, Eh-tudes recycles the same four-measure oboe line at progressive speeds, as if the oboist is practicing a passage from an etude. Porcelain figurine of a virtuoso is a kitschy micro-concertino with a few twists and turns. And Fugetta for no-one comes from a former teacher’s claim that “No one writes fugues anymore,” to which my response is “here’s another.”
The second part is a trio of pastoral watercolors inspired by "kenopsia," or the “eerie, forlorn atmosphere of a place that’s usually bustling with people but is now abandoned and quiet.” (The Dictionary of Obscure Sorrows) The first panel of this triptych, Hymn to a clock in an empty church, sets a peaceful scene of a disturbingly vacant bethel. Idyll by the ghost of a shepherd is a poetic folk tune that mixes elements of la folia with the 12-bar blues, the 20th- century counterpart to la folia. And Songbird’s eulogy to the last king puts the listener outside the church where a bird sings atop the steeple, overlooking an unattended royal funeral.
The third part is autobiographical as it explores my mood cycling, moving through anxiety and grandiosity to the eventual dysphoria. Follies concludes with a catatonic coda, Fata organa, or “a flash of real emotion glimpsed in someone sitting across the room.” (The Dictionary of "Obscure Sorrows).
La folia also opened a door to semantic connections that inspired my approach. A folly is both a foolish act and an ornamental building which implies function without needing to be functional, like a statuesque structure for viewing, a trifle. Many of these variations are just that: picturesque monuments to an ancient world. -
for bassoon and string quartet - 11'×
concertino
Mezza-Sonata is a truncated version of the familiar three-part sonata-allegro form. The exposition comprises two themes: the first is melancholy with its long phrases, falling chromatic lines, and undulating accompaniment; the second is more driving and dramatic with its constantly shifting key centers and anxious tremolos. The mezza (“half”) of this movement starts in the development, which wanders off in its own direction, overtaking what would have been the recapitulation and skipping directly to the coda—ignoring the sonata procedure.
Marcia funebre quasi un ballo (“Funeral March like a dance”) was written the evening following the 2021 storming of the United States Capitol. This movement’s title is a reference to Beethoven’s “Moonlight” Sonata, which carries the inscription Sonata quasi una Fantasia (“Sonata like a fantasy”). Additionally, the mood and meter—a processional in 3/8—references the slow movement to Schubert’s late A major Piano Sonata.
Rapsodia Maniacale (“Manic Rhapsody”) is both a capricious response to the previous two movements and a rumination on the shifting moods I experienced during a mixed manic-depressive episode. -
for viola and piano - 8'×
chakohnne
I first started writing Chakohnne back at the University of Michigan as a brief collaborative effort with violist, Immanuel Koh. I’ve since forgotten the reason why we first worked together, but the short time we did resulted in a sketch of music that constantly revisits my mind. And with 2019 being my year of tying up loose ends, it seemed fitting to revisit this music and give it a proper send off.
The form is fairly free, moving from variant to variant in an organic way—although there is not much in the way of connective material between each part. The opening establishes the harmonic and melodic world from which the rest of the work derives, like the theme of a set of variations.
The first variant remains in the same tempo, now with slightly more activity. Here the piano shadows the viola, echoing each of the viola’s two-note gestures just after they are played.
The second variant picks up the pace with a churning accompaniment from the piano and a sighing three-note motive from the viola.
The third variant continues immediately where the second’s intensity is at its greatest. This variant breaks from the overall formal constraints established by the opening, reaching a kind of conclusory end. The piano follows with a solo variant: a single line of music, 12 chords, slow, without tempo, diminishing from fff to ppp over the course of one minute.
The viola responds soon after with a lyrical answer, spanning its mid-register to it highest limits. The viola returns to earth alone with dancing pizzicati, recalling the opening music. The piano joins in the and the two conclude the piece with a slight shift in tonality. There may be something slightly surprising about the ending. This type of formally-disjunct, lyrical coda has become somewhat of a trademark of my music in recent years. -
for flute and violin - 6'×
elegies
Elegies is a grotesque rendering of the macabre and the sublime. Dead Dancing is a set of variations on Dies Irae, shifting through various moods, from the capricious opening to a rough little demon dance. Souls Singing was written at the start of quarantine. I remember it being so quiet. Quiet outside. Quiet inside—the interminable quiet. InBetween is a bit of a cryptograph—a whispered study in supreme stillness and intimacy.
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for two wind instruments - 15'×
partita
A baroque-inspired dance suite was the obvious continuation of a courante I wrote for Pamela Ajango and Heidi Radtke in late 2019. I added an allemande and a sarabande and finished with a giga, an Italian version of the French gigue. A prelude opens the set, in the tradition of some earlier keyboard suites and the later and greater partitas of J.S. Bach, no doubt the reason for the set’s name. Partita was premiered at the North American Saxophone Alliance 2020 Biennial Conference.
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for two pianos - 6'×
bagatelle
The earliest version of this music was for string quartet in summer 2016. Scherzo was part of a reading at the Colorado Music Festival and was then premiered in New Haven the following fall by members of the Yale Philharmonia. I was never truly satisfied with that version of the piece and knew I wanted to breathe new life into the material eventually.
This new version abandons bowed strings for hammered strings, opening new textural and dynamic paths for the music to take. Much of the harmonic and melodic material has remained, besides a few adjusted transitional moments, while the orchestration is virtually remade new. -
for seven instruments - 9'×
dance portraits
Each portrait is in some sort of triple meter, making use of idioms commonly heard in various romantic-era genres: the grand backbeat of the Brahmsian Waltz; the lyrical lull of the Schubertian Barcarolle; and the weighty accents of the Chopinesque Mazurka.
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for clarinet, violin, cello, and piano - 15'
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for violin and piano - 22'×
violin sonata
The first movement of Violin Sonata was written with great enthusiasm for Elly Toyoda after we performed Markov’s third rhapsody on her degree recital. Most of the movement was written over spring break 2016 and premiered a month later on the NMNH concert at Yale.
The performance was acclaimed by my colleagues, many asking if I intended to add complementing movements.
The second movement was premiered one year later at Yale. We were then asked to complete the work and give the premiere at the 2017 Norfolk Chamber Music Festival.
Given the work’s positive outlook and sunny demeanor, and given that much of it was written over two spring breaks and is a stylistic culmination of my early period, I have taken to labeling it my “Spring” Sonata, a reference to Beethoven’s Op. 24. -
for oboe, bassoon, and piano - 12'×
trio variations
Given my propensity to arrange, reimagine, and improvise on other people’s music, it’s not surprising that I also enjoy writing variation cycles. Trio Variations is built on an original theme and a set of variants stylized after the baroque, the romantic, jazz, pop, and 20th century Americana.
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for saxophone quartet - 4'
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for two cellos - 6'×
pas de deux
Pas de deux was written for Victor Hull and Eric Hague for a collaborative project between the University of Michigan composition and cello studios.
The music violently swirls, synchronizes, caresses and consoles, and in the final moments of the work, embraces. -
chasmfor cello and piano - 4'
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fanfare for the forumfor two antiphonal trumpets - 1'
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for piano - 5'×
february snow
In early 2024, Indianapolis piano technician Ron Winter suddenly passed away; he maintained the pianos at the University of Indianapolis where I attended college. I remember, after a winter nearly absent of snow, it fell one big snow the morning after he passed, and I sat at the piano and wrote this consolation in his memory. It was calm and quiet that day.
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for clavichord - 1'
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for guitar - 5.5'×
mosaic
Mosaic hinges three contrasting étude-tableaux—based on a looping chord progression—into one shimmering and challenging musical triptych. The performer and audience are invited to imbue the work's ambiguous narrative with extramusical meaning.
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for piano - 14'×
bridget variations
Throughout pride 2023, I wrote ten variations on the song "The Town Inside Me." This is Bridget's theme from the video game Guilty Gear Strive. This is a collection of contrasts between introversion-extroversion, happy-mad-sad, and fighting sleep before falling to it.
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for piano - 8'×
scenes from a garden
I compiled some of my best smaller works and added some new music to create a set of short preludes. I imagined a lovely little garden where the sun shines through the branches and the day passes, the blooming honeysuckles fill the air with their sweet smell, a snail strolls along the trimming, and, as the moon spills over the scene, a moth threatens predators with its winged gaze.
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for piano - 8'×
sonata rustica
Earliest sketches for sonata rustica date back to 2017 as a plausible conclusion to my first violin sonata. A professor criticized the work as too olden and I once again sat aside a perfectly fine idea worthy of exploration. I began reworking the sketches into a single-movement sonata-rondo in 2020 after moving back to Indiana.
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for piano - 11'×
seventeen years
"Into a blinding light, a cicada nymph emerges from the soil. After seventeen years of root sap and cold ground, the nymph climbs its mother tree and rests on the bark as it changes form. It pushes its newly-crafted wings from its husk, unfolds, and spreads them out in the drying sunlight. Metamorphosed and matte, it sings its first song, then carefully, if somewhat clumsily, flies its first flight. Predators approach, but on blissful dumb luck, the now full-grown cicada escapes, gliding over to a nearby tree and gracefully landing. There it meets another. They lock eyes, dancing widely in the air until they weaken and fall gently to the forest floor. Some time passes, and then one of many eggs vibrates on top of the tree they met. A new nymph is born. It scuttles across its branch, clings on tightly to the tip, looks past a field of discarded cicada skins out at a lush prismatic scene, and without further hesitation, leaps. The new nymph has a vision as it floats down to the ground below. It dreams of a life of transformation, flight, love, and death before it burrows into the soil, and the cycle starts anew."
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for carillon - 2.5'×
september serenade
The original premise for this piece was that everyone would heed the CDC's recommendations and socially distance and that by September 2020 we would all be walking college campuses again. But that never happened.
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for toy piano - 15'×
responses
As the Covid-19 Pandemic ravaged the world, creatives rethought their collaborative projects. I participated in the 2020 Westben Performer-Composer Residency, which was reimagined as an all-digital web-design project between facilitators, designers, staff, and sixty-plus attendees. The goal was to collaborate with an assigned group by creating workshops and compositions that would be forever showcased on Westben’s website. We had three weeks to design a website and organize its content.
The residency began a few days following the murder of George Floyd, whose death galvanized a new wave of protests against institutionalized oppression. With these protests, the pandemic, and the rest of 2020 leaving our lives exhausted and unsure, my Westben group and I used extramusical concepts—exploration, guilt, realization, changes, unrest, and hope—as inspiration for short musical responses. -
for piano - 5'×
toccare
Toccare is a toccata in both form and character. It is multi-sectional. It starts with a short, pastoral introduction, which gives way to a chromatic four-voice fugue. It transforms into a traditional, showy toccata near the end, finishing with an epilogue similar to the introduction. "Toccata" comes from the Italian word "toccare," meaning "to touch." As I was sitting in my office, nostalgic, writing this piece for an old friend at the start of the Covid-19 Pandemic, it occurred to me that this music was my creative way of reaching out to people and "touching" their lives, so the title stuck.
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for piano - 7'×
john's dream
While I was away in grad school, I learned of the sudden passing of my high school piano teacher, John Glennon. He was an opinionated man who often seemed to rub people the wrong way, but his fiery passion for emotion-based keyboard performance made him such a legend to those who had the privilege to study with him. He was also a massive inspiration for me, as he established a creative and personal baseline at which I still operate. I wrote this piece in his memory. John, you will be missed.
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for piano - 5'×
nocturne no. 2 "starsea"
In 2016, I wrote a song for tenor for the Albany Symphony’s “Songs of the Earth” concert, presented as part of the American Music Festival. I asked my poetically inclined friend, Dakota Miller, to write me a modern retelling of “Mondnacht” by Prussian romantic era poet, Joseph von Eichendorff. This poem is best known as a song from “Liederkries” by Robert Schumann, whose veiled setting poignantly emphasizes the intense yet quiet yearning of the work.
Miller’s tribute, “Starsea,” explores a similar yearning through a sort of cosmic surrealism (“And I am flooded with longing/ To stretch my limbs/ through the breathlessness/ And embrace the martyred dawn”) where a disembodied speaker yearns to reach out and hug the sky.
2019 was a year of tying up loose ends, compositionally. I always felt this song didn’t get a proper showing in 2016, and it had always been my desire to revisit it in some capacity. My second nocturne is just that; it is the same song but without words. In a Liszt-Petrach-Sonnet fashion, a piano alone now sings the melody in place of the singer, and to me this feels more appropriate given the intimate nature of the topic. -
for cello - 10'×
cello variations
The theme on which this set is based comprises two parts: the opening four measures is a tune composed by Eric Adamshick; the following eleven measures are my response to and expansion of his music. The first variation is a simple prelude that references J.S. Bach’s first cello suite. The second variation is a Brahmsian etude which has the cellist practice their scales. The third variation is a Bartókian dance that devolves into a cadenza. The fourth variation is a Crumbian fantasy that explores the cello’s noisier qualities. The fifth variation is a weeping Andante with broken chords and falling scales. The sixth variation is a quiet reimagining of the theme as a work by C.P.E. Bach. The conclusion explores two moods: anguish and acceptance. These final two variations mirror each other as minore (“minor mode”) and majore (“major mode”), in a stylized reference to the keyboard variations of Mozart.
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for marimba - 5'×
marimba fantasy
This work is in six interconnected sections, beginning with a theme and followed by five variations. The work comprises a four-chord harmonic structure that continually rotates (transposes) and overlaps on itself. The work threads through multiple musical topics, from a lonely soliloquy to a lamenting choir, from a barcarolle to a chaotic mechanism, concluding in song.
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for bassoon - 10'×
Bassoonatina
Originally titled Bassoon Sonata, this work was written at the end of undergrad for Indianapolis bassoonist, Mark Ortwein. Mark and I have since worked together on several other works, including my Trio Variations—for oboe, bassoon, and piano—and my Concertino, which Mark commissioned for a recording project that included The Indianapolis Quartet.
This 2022 revision—now named Bassoonatina, a portmanteau of bassoon and sonatina—maintains much of the original first and last movements, with small adjustments to meter, tempo, dynamics, and notation. However, the newly named Pastorale has been reworked into a more satisfyingly robust composition that holds its own against the outer movements.
Much of this music speaks for itself in its academic-brand of Neo-classical comedy; we have seen it all before. But where this work stands out is its stylistic sincerity, which balances or even cancels out the work’s most tongue-in-cheek elements. In many ways, this was the blueprint of the music I would write throughout grad school. I am proud to give this work a lasting spot in my catalog. -
wubfor piano - 4'
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for piano - 7'
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for high voice and piano - 4'
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for low voice and piano - 25'×
seasons of seizing
When I was in middle school, I spent the night at my eldest sister’s house. I brought with me my cheap, plastic electric piano. I balanced it on the small desk in front of her computer and logged on to the now-defunct website, “Charlie’s Piano.” This was in the days before social media and IMSLP.
I was self-taught and getting decent at sight- reading. I read Beethoven’s “Waldstein” Sonata for the first time that night. I remember being baffled by the first and second pages; it starts in C major and shifts suddenly to E major. All those accidentals excited me. What came next would be the first of many bizarre attacks:
My breath grew warm. I became nervous about something outside, anxiously pacing about from fear and confusion. Then I was struck by a vision. The world felt strange, as if I had been transported into a dream. At first, I was overcome with euphoria. I felt as if I had finally remembered something I had forgotten years prior. It felt like an intense déjà vu. But then everything changed. I heard voices. I saw lights. The room appeared to grow larger and smaller at the same time. In only a minute’s time, I was left fearful on the couch with my hand over my mouth.
I worked with Indiana poet, Liz Whiteacre, in 2021 to turn my TLE (Temporal Lobe Epilepsy) testimonials into a set of poems. Here I have set six to music. -
painfor low voice and piano - 4'
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for high voice and piano - 3'×
starsea
In 2016, I wrote a song with Uindy alum, Dakota Miller, for the Albany Symphony’s “Songs of the Earth” concert, presented at the American Music Festival. I asked Miller to write me a modern retelling of “Mondnacht” by Prussian romantic era poet, Joseph von Eichendorff. This poem is best known as a song from “Liederkries” by Robert Schumann, whose veiled setting poignantly emphasizes the intense yet quiet yearning of the work.
Miller’s tribute, Starsea, explores a similar yearning through a sort of cosmic surrealism (“And I am flooded with longing/ To stretch my limbs/ through the breathlessness/ And embrace the martyred dawn”) where a disembodied speaker yearns to reach out and hug the sky. -
for high voice and piano - 10'×
if only
This song tells a story set in a world reclaimed by nature, where a lost love falls victim to a vengeful adversary, and a vow for revenge takes root. The original version of this song (scored for eight cellos and voice) was written at the request of cellist Richard Aaron for the 2014 Aspen Music Festival. The lyrics were adapted from a poem by Kat Finch, with whom I previously collaborated in the University of Michigan’s 'Words & Music' class.
for medium voice and piano - 5'×sweetfeather
This song was written for the University of Michigan’s “Words and Music” class. Poet-Composer pairs were asked to write a song on one of the following prompts: 4-chords and the truth, lullaby, or dirge. We used all three.
demo reel
cw: flashing lights
Meadow's melodies spin out and layer like the Baroque; their form is firmly constructed like the Classical; their gestural language is sweeping like the Romantics; and their harmonic signature is born from 20th-century neotonality, where kaleidoscopic chord progressions shift and cycle endlessly, forming chains of modulations.meadow bridgham
(they/she)
Many dichotomies hold their music together—minimal-maximal, tonal-atonal, new-old—and Meadow balances it all with extramusical framing; this includes the anthropomorphizing of insects, the allegorizing of stories from their life, and the commenting on aspects of their identity.
Meadow has worked with important composers such as William Bolcom, Martin Bresnick, Aaron Jay Kernis, Libby Larsen, Bright Sheng, and Joan Tower. Additionally, as a fellow of the Rubin Institute of Music Criticism, they had the privilege of working with influential writers such as Alex Ross, Tim Page, John Rockwell, and Anne Midgette.
Their music has been performed as part of the American Music Festival, the New York Festival of Song, the Norfolk Chamber Music Festival, Third Place [MusicFest], and the North American Saxophone Alliance Biennial Conference. They have reached international audiences through the Westben Composer-Performer Residency in Canada, the Brisbane Music Festival in Australia, and the International Double Reed Society Convention in Thailand. Recent appearances of their music include the Rivera Court at the Detroit Institute of Arts, the Utzon Room at Sydney Opera House, and Merkin Hall at New York's Kaufman Music Center.
Meadow holds a Doctor of Musical Arts degree from the Yale School of Music, where their Violin Sonata was awarded the Frances E. Osborne Kellogg Memorial Prize for best composition written in a contrapuntal style.calendar
seventeen years @ Kaufman Music Center - NYC - Nov 2024
seasons of seizing & scenes from a garden @ Ruth Lilly Performance Hall - Indpls, IN - Mar 2025
previous +
2024
seventeen years @ Chiostro di Santa Chiara - Bari, It - Aug 2024
seventeen years @ Del Mar International Composers Symposium - Del Mar, CA - Aug 2024
seventeen years @ Southeastern Piano Festival - Columbia, SC - Jun 2024
seventeen years @ David Li Sound Gallery - Melbourne, AU - Apr 2024
february snow @ Ruth Lilly Performance Hall - Indpls, IN - Mar 2024
seventeen years @ Sydney Opera House - Sydney, AU - Mar 2024
fantasietta @ Fifteen-Minutes-of-Fame - Presented by Vox Novus - Feb 2024
seventeen years @ FSU Festival of New Music - Tallahassee, FL - Feb 2024
seventeen years @ Rivera Court @ DIA - Detroit, MI - Jan 2024
2023
trombone sonata @ Ruth Lilly Performance Hall - Indpls, IN - Nov 2023
seventeen years @ Brisbane Music Festival - Brisbane, AU - Oct 2023
mosaic @ University Heights United Methodist Church - Indpls, IN - Oct 2023
seventeen years @ Tempo Rubato - Melbourne, AU - Oct 2023
cello variations @ Washington State University - Pullman, WA - Oct 2023
cello variations @ CWU New Music Festival - Ellensburg, WA - Oct 2023
lipstick rhapsody @ 2023 IDRS Conference - Mahidol University, Thailand - Jul 2023
lipstick rhapsody @ Third Place [MusicFest] - Ann Arbor, MI - May 2023
toccare @ Ruth Lilly Performance Hall - Indpls, IN - Mar 2023
john's dream @ Ruth Lilly Performance Hall - Indpls, IN - Mar 2023
2022
seasons of seizing @ Sprague Memorial Hall - New Haven, CT - Nov 2022
responses @ Sprague Memorial Hall - New Haven, CT - Nov 2022
mozschubartsibinsky @ Sprague Memorial Hall - New Haven, CT - Nov 2022
lightning bugs @ Sprague Memorial Hall - New Haven, CT - Nov 2022
cello variations @ Sprague Memorial Hall - New Haven, CT - Nov 2022
concertino @ Sprague Memorial Hall - New Haven, CT - Nov 2022
songs for the people @ Ruth Lilly Performance Hall - Indpls, IN - Nov 2022
mozschubartsibinsky @ Ruth Lilly Performance Hall - Indpls, IN - Oct 2022
responses @ Ruth Lilly Performance Hall - Indpls, IN - Oct 2022
nocturne no. 1 @ Ruth Lilly Performance Hall - Indpls, IN - Sep 2022
sonata rustica @ Ruth Lilly Performance Hall - Indpls, IN - Sep 2022
follies @ Ruth Lilly Performance Hall - Indpls, IN - Apr 2022
phantoms @ Ruth Lilly Performance Hall - Indpls, IN - Dec 2022
2021
seventeen years @ Ruth Lilly Performance Hall - Indpls, IN - Nov 2021
lightning bugs @ The Indianapolis Propylaeum - Indpls, IN - Aug 2021
chakohnne @ Ruth Lilly Performance Hall - Indpls, IN - Apr 2021
concertino @ Ruth Lilly Performance Hall - Indpls, IN - Mar 2021
seventeen years @ Ruth Lilly Performance Hall - Indpls, IN - Nov 2021
lightning bugs @ The Indianapolis Propylaeum - Indpls, IN - Aug 2021
chakohnne @ Ruth Lilly Performance Hall - Indpls, IN - Apr 2021
concertino @ Ruth Lilly Performance Hall - Indpls, IN - Mar 2021
2020
elegies @ Florida State University - Dohnányi Recital Hall - Tallahassee, FL - Dec 2020
nocturne no. 2, “starsea” @ Ruth Lilly Performance Hall - Indpls, IN - Nov 2020
elegies @ Ruth Lilly Performance Hall - Indpls, IN - Nov 2020
dance portraits @ Hilbert Circle Theater - Wood Room - Indpls, IN - Mar 2020
partita @ North American Saxophone Alliance 2020 Biennial Conference - Tempe, AZ - Mar 2020
pain @ Ruth Lilly Performance Hall - Indpls, IN - Feb 2020
2019
nocturne no. 2, “starsea” @ Ruth Lilly Performance Hall - Indpls, IN - Nov 2019
john’s dream @ Ruth Lilly Performance Hall - Indpls, IN - Nov 2019
partita @ Butler University - Lilly Hall - Indpls, IN - Nov 2019
nocturne no. 2, “starsea” @ Butler University - Lilly Hall - Indpls, IN - Nov 2019
nocturne no. 2, “starsea” @ Ind. Piano Teachers Guild (IPTG) - Indpls, IN - Oct 2019
bagatelle @ Ruth Lilly Performance Hall - Indpls, IN - Sep 2019
nocturne no. 2, “starsea” @ Ind. Music Teachers Assoc. (IMTA) - Indpls, IN - Sep 2019
partita @ Eidson-Duckwall Recital Hall - Indpls, IN - Sep 2019
2018 and before
cello variations @ Staller Center for the Arts - Stony Brook, NY - Nov 2018
avon yard @ Ruth Lilly Performance Hall - Indianapolis, IN - Nov 2017
violin sonata @ The Music Shed - Norfolk, CT - Jun 2017
violin sonata @ Sprague Memorial Hall - New Haven, CT - Apr 2017
marimba fantasy @ Sprague Memorial Hall - New Haven, CT - Mar 2017
trio variations @ RiverCenter for the Performing Arts - Columbus, GA - Jun 2016
starsea @ Albany Symphony - St. Paul’s Episcopal Church - Troy, NY - Jun 2016
violin sonata @ Sprague Memorial Hall - New Haven, CT - Apr 2016
sweetfeather @ New York Festival of Song - Marc A. Scorca Hall - New York, NY - Feb 2015
pas de deux @ Shandelee Music Festival - Sunset Concert Pavilion - Livingston Manor, NY - Aug 2014
For information regarding scores, commissions, and bookings, contact Dr. Meadow Bridgham (they/she) using the form below. They may also be contacted directly at bridghammusic@gmail.com