For Daniel's 2017 rev. 2019 composition Anticipation for Flute, Violin, Cello, and Piano. Program notes are as follows:

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As the title suggests, I first began composing this piece with a particular emotion in mind--namely, that of anticipation. I felt this to be especially significant because anticipation contains and is the starting point for an enormous variety of other emotions and feelings. To this end, I made sure to highlight both of anticipation's primary sides: excitement (encapsulated in lighter, more joyful music) and worry (embodied through darker, brooding, and almost tragic music). Similarly, I chose to score the entire piece in a tempo that continuously moves forward to underline anticipation's fleeting nature: it appears briefly only to be rapidly ousted and replaced upon the arrival of reality. In an underhanded gesture to this idea of anticipation, I furthermore made quite a few implicit references (including one direct "word-for-word" reference) to several other pieces of music in the classical music repertoire of the past, and then proceeded to leave these references unfinished and "hanging." Overall, my ultimate goal in composing Anticipation was to explore the many nuanced emotional narratives that can all develop out of just one core feeling central to our human identity. Performed at the Belvedere Chamber Music Festival by Kelly Herrman (flute); Marisa Polesky (violin); Hannah Schmidt (cello); and Maeve Brophy (piano); conducted by Robert Patterson.