Commissioned by Americas Society

Performers: Charlotte Mundy, Soprano
Yoshi Weinberg, flutes
Madison Greenstone, clarinets
Russell Greenberg, percussions
Kathryn Sloat, harp
Alec Goldfarb, electric guitar
Pala Garcia, violin
Thea Mesirow, cello
Tristan Kasten Krause, double bass
Yanqi Chen, electronics
Sebastian Zubieta, conductor

Mixing and Mastering by Murat Çolak at GERYON Label.

Mors Osculi (Live performance)

Amanecer (2024) is written for chamber orchestra. 

Performed by Talea Ensemble with conductor David Fulmer.
Audio Editing by Camilo Pentzke

Amanecer

Commissioned by the Brooklyn Art Song Society
Dominik Belavy, baritone
Nathaniel LaNasa, piano

Three Yeats Songs (2016 - 2023)

Youtube video of the performance: https://www.youtube.com/watch?v=YUf5Ca6_wk0

commissioned by Ensemble Proton Bern as a part of Protonwerk No. 13

live recording of premiere 23. April 2024 - Dampfzentrale Bern

Ensemble Proton Bern 

Conductor- Gregory Charette
Alto flute, piccolo - Bettina Berger 
Oboe - Martin Bliggenstorfer 
Basset horn, contrabass clarinet - Richard Elliot Haynes
Bassoon, Contrabassoon - Elise Jacoberger 
Harp - Vera Schnider 
Piano - Coco Schwarz
Violin - Maximilian Haft 
Cello - Jan-Filip Ťupa

Recording and mixing - Joël Cormier

Program note: 
“Stained light” is a part of an ongoing attempt in my work to uncover sensations and emotions from my own childhood. It can be both nostalgic and dark, as I try to remember how sensitive I felt to everything as a child – to the weather, to the energy of people around me, to the sounds of the world. In the piece, I try to create fragile spaces in which small details can affect the whole system, uncovering layers of sweetness or of darkness. There is something always under the surface, like a hidden song, half-remembered, heard from a distance.

Stained light | for ensemble proton bern (2023-24)

Katie Liu, viola
2024 Primrose International Viola Competition
Los Angeles, CA, USA

𝘛𝘶𝘮

PASSACAGLIA – MUSIC FOR ORCHESTRA IX (2024)

released on Wet Ink Ensemble "Action, Choice, Thought" 
May 2025 on Carrier Records
https://wetinkensemble.bandcamp.com/album/action-choice-thought 

The piece moves fluidly between fixed and open material, fully notated music and music co-created by the members of the ensemble through improvisation.


Wet Ink Ensemble
Erin Lesser - flutes
Alex Mincek - tenor saxophone
Kate Soper - voice
Eric Wubbels - piano
Ian Antonio - percussion
Josh Modney - violin
Mariel Roberts Musa - cello
Sam Pluta - electronics

Action, Choice, Thought [2025]

https://joshuamastel.com/Blur/
Performed by the New Fromm Players at Tanglewood Music Center August 18, 2025.
Sheena Lan, violin
James Gikas, violin
Audrey Wang, viola
Han Lee, cello

Blur | for string quartet (2025)

Michigan State University Wind Symphony - Michael Gabriel, conductor

Some of my earliest memories are of intricate boxes. My father, a furniture maker, often restores antique pieces, and I remember being fascinated by wardrobes and desks that had secret drawers and spaces. These are often only accessible by putting one’s hands in the right spot with the right pressure, a type of haptic code. In writing Puzzle Box, I wanted to create a work that pays homage to these beautifully compact pieces, where one has to explore around an object and test it in various ways until a hidden passageway opens. Puzzle Box was written for the Cabrillo Festival as part of the 2024 Conductors / Composers Workshop and is dedicated to my father. The wind band arrangement of Puzzle Box was commissioned by Kevin Sedatole, Michael Gabriel, and the Michigan State University Wind Symphony.

Puzzle Box (2024-5) for wind symphony

Performed by Trio Phoenix at the Peabody Conservatory's Cohen-Davison Family Theatre on May 5th, 2016.

This piece, dedicated with gratefulness to Trio Phoenix, follows a meditative journey from billowing chaos to quiet, serene stasis. I’ve noticed that there is a great deal of music which concerns itself with the concept of organic growth but not so much music concerned with organic decay ­- a concept every bit as embedded within the natural world and the human experience, and arguably just as beautiful. To that end, I thought it would be interesting to write a piece which begins "in medias res" at peak ferocity and gradually dwindles down to a calm whisper.

I should learn to look at an empty sky (piano trio)

Connor Elias Way