Instrumentation: flute, oboe, clarinet in B♭ & A, bassoon, 2 horns in F, trumpet in C, tenor trombone, timpani, 1 percussion, strings (contrabass with low C).

Symphonia Parva is Latin for “Little Symphony.” This piece explores modal ideas mixed with moments of meditation on the harmonic series. The first movement is in the Dorian mode, or rāga Kāfī, featuring an interlude in rāga Bhīmpalāsī, a related rāga. It is meant to evoke a floating, wandering feeling, which is aided by the violin II and viola accompaniment. The second movement is a dance movement: a bourée. Once again, it is rāga-based, this time using rāga Śuddha Kalyāṇ, which is a mix of the pentatonic scale and the Lydian mode. It is a much lighter movement than the other two. The finale, titled Masala, means “blend of spices,” reflecting the blend of styles used in its composition. It is a longer exploration of ideas related to the bourée, in combination with string pads that make use of overtones above the contrabass note. It is evocative of the styles of Mahler and Prokofiev in its use of the orchestra. Toward the end of the third movement, the first movement is recalled as a distant memory, before the music speeds up again and crashes into a final cadence. The piece ends with the chant melody of a Hindu mantra for peace: Aum śāntiḥ śāntiḥ śāntiḥ (Om, peace, peace, peace) before a final D major chord to finish.

Three Movements: I. Prelude | II. Bourée | III. Masala

Recorded on May 27, 2023 by Temple Composers’ Orchestra, Sepehr Pirasteh, conductor.

I also created an expanded version for symphony orchestra in 2024, including a new section in the second movement. The instrumentation is as follows: 2 flutes, 2 oboes, 2 clarinets in B♭ & A, 2 bassoons, 4 horns in F, 2 trumpets in C, 2 tenor trombones, bass trombone, tuba, timpani, 2 percussion, strings.

Instrumentation: 2 flutes, oboe*, 2 clarinets in B♭, 2 alto saxophones, tenor saxophone, baritone saxophone, bassoon, 2 horns in F*, 2 trumpets in B♭, 2 tenor trombones, bass trombone, euphonium, tuba, timpani, 4 percussionists, bass guitar*, strings. *optional parts, which are doubles of other parts.

This piece for orchestra is a passamezzo antico, based on the eponymous Renaissance progression, with an overall key center of G. It is composed in variations form, featuring a number of interesting changes and additions over the recurring bassline. Active percussion also adds interest. The string section is featured toward the end as a contrasting area—the progression gives way to the passamezzo moderno, a major-mode variant of the primary progression. It was composed for my students at Archbishop Ryan High School, and is suited for the late-middle school to high school level (grades 8–12).

Premiered May 16, 2024 by Archbishop Ryan High School Symphony Orchestra; Joshua Neale, conductor.

Instrumentation: flute, oboe, 2 clarinets in B♭, alto saxophone, tenor saxophone, baritone saxophone, bassoon, horn in F, 2 trumpets in B♭, 2 tenor trombones, bass trombone, electric bass, timpani, bass drum, snare drum, cymbals, glockenspiel, vibraphone, xylophone, harp, & strings

This piece was composed for my students at Archbishop Ryan High School in Philadelphia. The somewhat odd instrumentation reflects the instruments that they all play, with a few doubling parts that are optional. Much like how Vivaldi would compose for the instruments he had on hand, I put this piece together with a specific school in mind. The piece is based on the rondo finale of Antonio Salieri’s Keyboard Concerto in C Major (1773) and is meant as an introduction to rondo form. The middle section switches to D minor, and then D major, before returning back to the home key of F major. This rondo would be best suited to late middle (grades 7–8) and early high school (grades 9–10).

Premiered May 11, 2023 by Archbishop Ryan High School Symphony Orchestra; Joshua Neale, conductor.

This is a piece intended for high school (grades 9–12) or advanced middle school (grades 6–8) musicians. A passacaglia is a form that features a theme in the bass that is then passed around the ensemble while the harmonies change. Unlike the related chaconne, the theme is not confined to the bass part. This piece complements other Baroque selections, as it is composed similarly to music of that period.

Instrumentation: 1 flute, 1 oboe, 2 clarinets in A, 1 bassoon, 2 horns, 1 trumpet in C, 1 tenor trombone, 2 percussion, piano, harp, & strings

The Meditating Mind depicts a mind wandering during a meditation session. Just as the mind jumps from place to place before returning to the original idea, this piece features a main idea interrupted by contrasting episodes, each longer than the one that precedes it. To give a different flavor and color to the harmonic language, this piece was composed using a Hindustāni classical rāga called Toḍi, with the final episode switching to rāga Yaman for a total change of character.

Premiered March 31, 2022 by Temple Composers’ Orchestra at Temple Performing Arts Center, Temple University, Philadelphia, Pennsylvania. Sepehr Pirasteh, conductor. Listen here!

Instrumentation: 2 oboes, 2 natural horns*, Viennese violone solo, violins I, violins II, violas, basso continuo

This concerto, inspired by those of Vaňhal or Dittersdorf, is designed for a 4- or 5- string double bass instrument in Viennese tuning (D₁-A₁-D₂-F♯₂-A₂). It is in the late-18^th-century style, and is intended to be performed by a historically-informed performance ensemble, although it can also be performed with a modern orchestra. The first movement is a typical Allegro, with a double exposition for the orchestra and then the soloist. It features dialogue between the soloist and the orchestra, culminating in a cadenza for the soloist. In the second movement, an Adagio, the focus is on a lyrical melody with lighter accompaniment, and also features a cadenza for the soloist. The rondo finale is the most virtuosic movement of the three, and the soloist is required to have dexterity in both hands in order to play it well.

Three movements: I. Allegro | II. Adagio | III. Finale. Rondo: Allegro vivace

*Horns are in D for movements I & III, and in A for movement II. Parts in F for modern horns are available upon request.

This piece, a prayer, was composed after the abhorrent attacks on the U.S. Capitol building that took place on January 06, 2021. In the first of two main sections, the piano plays a metered cadenza, highly dissonant and unpleasant, representing the insurrectionists. After this cadenza calms down, the choir enters and the second main section begins. They sing in Latin a call for peace, liberty, and unity after a direct attack on free and fair elections.

Premiered in May 2021 by The College of New Jersey Chorale, directed by Dr. John Leonard, at Mildred & Ernest E. Mayo Hall in Ewing, New Jersey.

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Instrumentation: 2 flutes, 2 oboes, 2 clarinets in B♭, 2 bassoons, 2 horns, 2 trumpets in C, timpani, triangle, cymbals, glockenspiel, snare drum, bass drum, harp, & strings

This piece, a lighter work, was composed during the COVID-19 pandemic, and was intended for a smaller orchestra. When, however, the world re-opened, I decided to expand it back to a standard orchestra. The piece itself is a march that blends the styles of Mozart and Sousa, intended for performance alongside other light pieces, such as Leroy Anderson’s Sleigh Ride (which was on the program for the premiere performance, incidentally!). The main march is in C major with a contrasting trio section in G major. The main section is heard again without repeats after the trio.

Premiered March 2022 by The College of New Jersey Orchestra, directed by Uli Speth, at Mildred & Ernest E. Mayo Concert Hall, Ewing, New Jersey.

Composed in the memory of my paternal grandfather, Dattatraya Narayanrao Jawadiwar (1933–2018), to whom the work is dedicated.

This is a slow, sentimental elegy in E major, intended for a large string orchestra. Other than the double basses, all sections are divided for long sections. As stated above, I composed it upon the death of my grandfather in his memory. The high violin passages in particular should be understood to carry deep emotion, and the Elegy overall is emotionally charged. It should be performed with as much emotion as I had when composing it.

This is a light, comedic piece for string orchestra in G major, inspired by the lumbering walk of a hippopotamus on land. Intended for middle school or high school, within the comedy lies an introduction to classical sonata form. March of the Hippos may well be the first sonata-form piece that students ever perform. Every part plays melody and accompaniment at some point during the piece.