Scores and recordings are currently archived on Dropbox.
Below you will find links to browsable folders of broad categories and instrumentations of works first, then a chronological list of works with links to each individual score (and recording where applicable).
Below you will find links to browsable folders of broad categories and instrumentations of works first, then a chronological list of works with links to each individual score (and recording where applicable).
Works by Category
Chronology of Works
Following are all compositions currently available for performance. Most are unpublished.
Links coming soon!
For further information, please contact the composer.
Links coming soon!
For further information, please contact the composer.
THREE PIANO PIECES (1957)
His earliest “surviving” composition and still a favorite of his. ca. 7 min.
His earliest “surviving” composition and still a favorite of his. ca. 7 min.
PRELUDE (1958)
A short, intense piece, based on a ground. Originally intended for piano, it is perhaps better suited to the organ because of its sustained, contrapuntal character. ca. 3 min.
A short, intense piece, based on a ground. Originally intended for piano, it is perhaps better suited to the organ because of its sustained, contrapuntal character. ca. 3 min.
THE ATTIC TAPES (1968-1974)
Songs in various “folk” styles written at a time when he thought he had given up “serious” composing.
Recordings available in the linked folder
Songs in various “folk” styles written at a time when he thought he had given up “serious” composing.
Recordings available in the linked folder
POSSESSION (Music for Improvisation) (1974)
A blues-based instrumental ballad, whose slow tempo, lush harmonies and interesting quirks seem to call for improvisation.
A blues-based instrumental ballad, whose slow tempo, lush harmonies and interesting quirks seem to call for improvisation.
JOHN CLARE: A PORTRAIT IN SIX SONGS (First Love; Clock a Clay; Sabbath Bells; A Fitting Place; Dying Gales; An Invite to Eternity) (1974)
Poems of John Clare, set in "folk" style, with guitar accompaniment. Originally intended for an untrained voice and "first position" guitarist (the composer), they deserve better treatment. Vocal range of an 11th (transposable). ca. 20 min.
Poems of John Clare, set in "folk" style, with guitar accompaniment. Originally intended for an untrained voice and "first position" guitarist (the composer), they deserve better treatment. Vocal range of an 11th (transposable). ca. 20 min.
PRELUDE & FUGUE, for solo guitar (1977; rev. 2018)
Inspired by guitar transcriptions of Bach. ca. 5 min.
Inspired by guitar transcriptions of Bach. ca. 5 min.
THE MENTAL TRAVELLER, cantata for tenor solo and chorus (SATB), unaccompanied (1979)
Setting of a poem by William Blake. The chorus sings only vowel sounds. Small chorus (8 voices minimum) recommended. ca. 15 min.
Setting of a poem by William Blake. The chorus sings only vowel sounds. Small chorus (8 voices minimum) recommended. ca. 15 min.
TWO STUDIES FOR PIANO (The Less than Slow; The More than Quick) (1979-81)
An homage to Debussy. ca. 14 min.
An homage to Debussy. ca. 14 min.
CANZONA TRISTE, for harpsichordist (1987)
A rather free treatment of a rather free form, based on an original song from the composer's "folk" period. Includes a vocal part for the performer (untrained singer preferred). ca. 18 min.
A rather free treatment of a rather free form, based on an original song from the composer's "folk" period. Includes a vocal part for the performer (untrained singer preferred). ca. 18 min.
ORPHIC HYMNS OF NIGHT, for mezzo-soprano, flute (alto flute), bass clarinet (clarinet), bassoon, celesta and harp (1987)
Setting of three of the so-called Hymns of Orpheus (attribution doubtful) associated with the ancient religious cult. The translations used date from the 18th century. With a vocal range of G3-Ab5, the piece may also be suitable for some alto voices. ca. 21 min.
Setting of three of the so-called Hymns of Orpheus (attribution doubtful) associated with the ancient religious cult. The translations used date from the 18th century. With a vocal range of G3-Ab5, the piece may also be suitable for some alto voices. ca. 21 min.
SONGS OF SCOTTISH WOMEN (The Lilt; There Was a Sang; Sodger's Lass; Nocht o' Mortal Sicht (1942); Villanelle) for voice and harpsichord (or piano) (1994-2005)
Song cycle, setting poems by 20th-century Scottish women, all in Scots dialect. The melodies, though original, have a distinctly traditional air; the accompaniments, on the other hand, go farther afield. With a range of C4-A5, they could easily be transposed for various voices. ca. 15 min.
Song cycle, setting poems by 20th-century Scottish women, all in Scots dialect. The melodies, though original, have a distinctly traditional air; the accompaniments, on the other hand, go farther afield. With a range of C4-A5, they could easily be transposed for various voices. ca. 15 min.
PIÙ MOSSO! (ESCAPE FROM THE INFERNAL GARDEN) for alto recorder (or flute) and harpsichord (or piano) (Past Time Music, no. 4) (1995)
As the title suggests, a piece that starts slow and ends fast. ca. 9 min.
As the title suggests, a piece that starts slow and ends fast. ca. 9 min.
RUTHERFORD JOURNAL: NINE PART-SONGS FOR EIGHT VOICES (SSAATTBB) (To Waken an Old Lady; Willow Poem; The Disputants; The Shadow; Poem (As the Cat); The Term; The Hunter; To A Poor Old Woman; Rain) (1997)
Poems by William Carlos Williams, reflecting life in Rutherford, N.J., where he spent most of his life. The songs are like entries in an imaginary daybook. Suitable for either small chorus or solo voices. ca. 22 min
Poems by William Carlos Williams, reflecting life in Rutherford, N.J., where he spent most of his life. The songs are like entries in an imaginary daybook. Suitable for either small chorus or solo voices. ca. 22 min
CALLISTO, opera-oratorio in three acts (2001)
A setting, in Latin, of Ovid's telling of the Callisto story, for 5 singers (SMzATB) and 16 instrumentalists (flute, oboe/English horn, clarinet, bassoon, trumpet, horn, bass trombone, harpsichord, 2 violins, viola, cello, double bass and 3 percussionists). Inspired by Stravinsky's Oedipus Rex. Each singer represents a character and also functions as a member of the "chorus" (the 5 singers combined). Staging, if any, is left open: it might place the singers off-stage, accompanied by mime, dance, film, video or a combination of these on-stage. The work might also be treated as an opera, although, because the text is a narrative, there are no distinct arias, duets, etc. A narrator introduces the work and reads from the translation by Alan Mandelbaum before each act. ca. 90 min.
A setting, in Latin, of Ovid's telling of the Callisto story, for 5 singers (SMzATB) and 16 instrumentalists (flute, oboe/English horn, clarinet, bassoon, trumpet, horn, bass trombone, harpsichord, 2 violins, viola, cello, double bass and 3 percussionists). Inspired by Stravinsky's Oedipus Rex. Each singer represents a character and also functions as a member of the "chorus" (the 5 singers combined). Staging, if any, is left open: it might place the singers off-stage, accompanied by mime, dance, film, video or a combination of these on-stage. The work might also be treated as an opera, although, because the text is a narrative, there are no distinct arias, duets, etc. A narrator introduces the work and reads from the translation by Alan Mandelbaum before each act. ca. 90 min.
MINDWORLDS: THREE SONGS ON POEMS OF WALLACE STEVENS, for soprano and piano (Of Mere Being; Blanche McCarthy; The House Was Quiet and the World Was Calm) (2002)
Vocal range: B3-G#5 (could be transposed). The poems all deal with the life of the imagination ("The palm at the end of the mind,/ Beyond the last thought...") ca. 9 min.
Vocal range: B3-G#5 (could be transposed). The poems all deal with the life of the imagination ("The palm at the end of the mind,/ Beyond the last thought...") ca. 9 min.
OF JEAN RENAUD: VARIATIONS ON A FRENCH FOLK SONG, for string quartet (2004) ca. 11 min.
GRASPING THE PRESENT, for solo cello (2004)
A satirical self-portrait. Lots of double-stops. ca. 6:30 min.
A satirical self-portrait. Lots of double-stops. ca. 6:30 min.
TWO CITIES, for chamber orchestra (Rebirth: New York 1948; An American Atlantis: New Orleans 2200) (2006)
Two programmatic pieces, one describing the composer’s arrival in New York as a teenager, the other a totally submerged New Orleans far in the future. Included on the Albany Records CD Places in Time (TROY 979). ca. 12 min.
Two programmatic pieces, one describing the composer’s arrival in New York as a teenager, the other a totally submerged New Orleans far in the future. Included on the Albany Records CD Places in Time (TROY 979). ca. 12 min.
NORAH’S DOVE: VARIATIONS ON AN AMERICAN FOLK SONG, for chamber orchestra (2007)
A tribute to Josh White, based on his version of Dink’s Song. ca. 7 min.
A tribute to Josh White, based on his version of Dink’s Song. ca. 7 min.
SPELL OF CREATION: FIVE SONGS ON POEMS OF KATHLEEN RAINE, for soprano or mezzo-soprano and piano (Lyric; The Path; Spell of Creation; Paradise Seed; Ark) (2008)
Vocal range: C4-G5 (could be transposed). An elegant Scottish poet who deserves to be better known. ca. 13 min.
Vocal range: C4-G5 (could be transposed). An elegant Scottish poet who deserves to be better known. ca. 13 min.
FOUR BAGPIPE TUNES (2008)
Music, by a nonpiper, for highland bagpipe, the instrument generally associated with Scotland but played round the world. ca. 7 min. (total)
Music, by a nonpiper, for highland bagpipe, the instrument generally associated with Scotland but played round the world. ca. 7 min. (total)
IR FARHALTENER TROT (Yiddish poem by Beyle Schaechter Gottesman); song for unaccompanied voice (2009)
WIFE & MOTHER: TWO SONGS ON POEMS OF ANNE BRADSTREET, for soprano and piano (To my Dear and Loving Husband; The Author to her Book) (2010)
Vocal range: B3-G5 (could be transposed). Two highly contrasting songs on poems by the American Puritan, the first American poet to be published. ca. 4:30 min.
Vocal range: B3-G5 (could be transposed). Two highly contrasting songs on poems by the American Puritan, the first American poet to be published. ca. 4:30 min.
NEWTOWN ELEGY, for solo bass clarinet (2012)
An attempt to express the feelings of survivors of the Sandy Hook Elementary School shooting in 2012. ca. 4:30 min.
An attempt to express the feelings of survivors of the Sandy Hook Elementary School shooting in 2012. ca. 4:30 min.
DUO-SONGS (2011-2017)
A series of song cycles for voice and non-keyboard instrument, such as clarinet, viola, cello, etc., setting poems of all periods.
Robin Blaser, poet
OH!; eleven songs for baritone & bass clarinet. ca. 15 min.
Mary Bonina, poet
ASCENT; seven songs for mezzo-soprano & viola da gamba
(Healing Waters; Lover Boy Fiction; Eyes; Living Proof; Shop of Small Pleasures; Ecstasy; Ascent) ca. 15min.
Charles Causley, poet
TWO DARK SONGS & TWO LIGHTER ONES; bass/baritone& guitar
(Ballad of the Faithless Wife; Grave By the Sea; The Swan; Birthday Photograph) ca. 12 min.
Martha Collins, poet
WORDS; nine songs for soprano (or mezzo-soprano) & viola (Points; Lines; Lets; Likes; Lies; Rights; Times; Means; Races) ca. 20 min.
Robert Creeley, poet
SOME ASPECTS OF LOVE; sixteen songs for tenor & basstrombone (or tenor trombone with F attachment)
(Kore; The Rain; Lady in Black; The Song; The End of the Day; For Fear; The Gift; Jack’s Blues; A Wicker Basket; Air: “For Love of a Woman”; The Figures; The People; The Wife; The Gesture; The Snow; Ballad of the Despairing Husband). ca. 30 min.
E. E. Cummings
AMORES; eight songs for countertenor & vibraphone
FIVE; songs for countertenor & bass clarinet
Emily Dickinson
WE LEARNED THE WHOLE OF LOVE; four songs for soprano & viola
(After Great Pain; The Moon; The Birds; We Leaned the Whole of Love) ca. 8 min.
T. S. Eliot
THE LOVE SONG OF J. ALFRED PRUFROCK; for tenor & alto saxophone. ca. 16:30 min.
Daisy Fried
SHE DIDN’T MEAN TO DO IT; six songs for soprano (ormezzo-soprano) & English horn (or clarinet)
(She Didn’t Mean to Do It; Fishtown Song; Ice; Steam; The Kites; Clean) ca. 12 min.
Gerard Manley Hopkins
HEAVEN-HAVEN; four songs for tenor & bass clarinet
(I Wake and Feel the Fell of Dark Not Day; Spring and Fall: To a Young Child; Heaven-Haven; My Own Heart Let Me More Have Pity On) ca. 10 min.
Lisa Jarnot
5 BLACK DOG SONGS; for soprano & clarinet
(Land and Sea; Lisa Jarnot; Hound Pastoral; This Most Perfect Hill; Greyhound Ode) ca. 7 min.
6 NIGHT SONGS; for soprano & alto flute
(Sinning Skel Misclape; Stein Meat Work; Vulpes Zerda Sonata; Husband Sonnet One; Husband Sonnet Two; Bar Course Excise Insensible) ca. 10 min
6 MORE NIGHT SONGS; for soprano & English horn (Birthday Ode; There Are Cats Everywhere Then; Words; Will This Change; The Real; Future Poem) ca. 10 min.
Richard Jones
THE BELL; six songs for tenor & bass clarinet
(The Bell; The Letter; The Widower; Song of the Old Man; Waiting) ca. 15 min.
Denise Levertov
THE FOUNTAIN; five songs for soprano (or mezzo-soprano) & viola
(The Fountain; The Depths; The Thread; The Presence; Lonely Man) ca. 11 min.
HE-WHO-CAME-FORTH; five songs for soprano (or mezzo-soprano) & English horn (or clarinet)
(He-Who-Came-Forth; Dream; Moon Tiger; Swan That Sings and; At David’s Grave) ca. 8 min.
3 TRYPTICHS; for soprano (or mezzo-soprano) & English horn
(Clouds; A Sound; Visistation. Overflow) ca.12 min.
MODULATIONS (Historia de un amor) 12 songs for mezzo-soprano & bassoon
(From Afar; Silk; The Phonecall; Psyche in Somerville; A Woman Pacing Her Room ... ; (The Woman Has Ceased to Pace ... ; Dream: Chateau de Galais; Like Loving Chekhov ; Fantasiestuck ; Modulations ; ‘Elle est Debrouiarde’ ; From Afar (II) ca. 40 min.
Pablo Neruda (translated by Alastair Reid)
LOVE & SILENCE; five songs for baritone & bassoon
([untitled], I Ask for Silence; Love; Here, There, Everywhere; Keeping Quiet) ca. 17:30 min.
Naomi Shihab Nye
THE WORLD IN TRANSLATION; six songs for mezzo-soprano & bass clarinet
(The World in Translation; The Song; Breaking My Favorite Bowl; Dew; West Side; The Traveling Onion) ca. 9 min.
Kathleen Raine
HIDDEN IS THE HEART; six songs for soprano (or mezzo-soprano) & alto flute
(Nocturne; In the Beck (Stream); Seed; Vegetation; Lament; Heroes) ca, 10 min.
Wallace Stevens
13 WAYS OF LOOKING AT A BLACKBIRD; for tenor & clarinet. ca, 5 min.
PETER QUINCE AT THE CLAVIER; four songs for tenor &bassoon. ca. 5 min.
LE MONOCLE DE MON ONCLE; song for tenor & altosaxophone. ca. 15 min.
A DISCOVERY OF THOUGHT; song for tenor & viola da gamba. ca. 5 min.SUNDAY MORNING; 8 songs for tenor & bass clarinet. ca. 13 min.
Kate Tempest
GROWING UP --FAST; seven songs for mezzo soprano & alto saxophone
(For my niece; Thirteen; School; Age is a pervert. Youth is a fascist; On Clapton Pond at dawn; Waking up with you this morning; The point) ca. 15 min.
Dylan Thomas
THIS SIDE OF THE TRUTH; five songs for countertenor &tenor saxophone
(This Side of the Truth; A Process in the Weather of the Heart; Light Breaks Where No Sun Shines; Should Lanterns Shine; Among Those Killed in the Dawn Raid Was a Man Aged a Hundred) ca. 12 min.
Walt Whitman
THREE LOVE SONGS; for baritone & cello
(The Dalliance of the Eagles; On the Beach at Night; Good-bye my Fancy!) ca. 12 min.
Thomas Wyatt
THE TIGER IN THE ROCK, song cycle for bass (or . baritone) and horn
(Pass Forth My Wonted Cries; When First Mine Eyes Did View and Mark; The Lively Sperks That Issue from Those Eyes; O Goodly Hand; What Rage Is This?; I Find No Peace; Marvel No More) ca. 35 min.
The first of the duo-songs (1980). An unusual challenge for both performers. Vocal range: G2-E4.
William Butler Yeats
OF SWANS, LOVE & THE MOON; six songs for countertenor & bassoon
(Leda and the Swan; A Memory of Youth; The Sorrow of Love; The Crazed Moon; The Lover Speaks ... ; The Wild Swans at Coole) ca. 10 min.
THE SECOND COMING; song for countertenor & bass trombone. ca. 3 min.
A series of song cycles for voice and non-keyboard instrument, such as clarinet, viola, cello, etc., setting poems of all periods.
Robin Blaser, poet
OH!; eleven songs for baritone & bass clarinet. ca. 15 min.
Mary Bonina, poet
ASCENT; seven songs for mezzo-soprano & viola da gamba
(Healing Waters; Lover Boy Fiction; Eyes; Living Proof; Shop of Small Pleasures; Ecstasy; Ascent) ca. 15min.
Charles Causley, poet
TWO DARK SONGS & TWO LIGHTER ONES; bass/baritone& guitar
(Ballad of the Faithless Wife; Grave By the Sea; The Swan; Birthday Photograph) ca. 12 min.
Martha Collins, poet
WORDS; nine songs for soprano (or mezzo-soprano) & viola (Points; Lines; Lets; Likes; Lies; Rights; Times; Means; Races) ca. 20 min.
Robert Creeley, poet
SOME ASPECTS OF LOVE; sixteen songs for tenor & basstrombone (or tenor trombone with F attachment)
(Kore; The Rain; Lady in Black; The Song; The End of the Day; For Fear; The Gift; Jack’s Blues; A Wicker Basket; Air: “For Love of a Woman”; The Figures; The People; The Wife; The Gesture; The Snow; Ballad of the Despairing Husband). ca. 30 min.
E. E. Cummings
AMORES; eight songs for countertenor & vibraphone
FIVE; songs for countertenor & bass clarinet
Emily Dickinson
WE LEARNED THE WHOLE OF LOVE; four songs for soprano & viola
(After Great Pain; The Moon; The Birds; We Leaned the Whole of Love) ca. 8 min.
T. S. Eliot
THE LOVE SONG OF J. ALFRED PRUFROCK; for tenor & alto saxophone. ca. 16:30 min.
Daisy Fried
SHE DIDN’T MEAN TO DO IT; six songs for soprano (ormezzo-soprano) & English horn (or clarinet)
(She Didn’t Mean to Do It; Fishtown Song; Ice; Steam; The Kites; Clean) ca. 12 min.
Gerard Manley Hopkins
HEAVEN-HAVEN; four songs for tenor & bass clarinet
(I Wake and Feel the Fell of Dark Not Day; Spring and Fall: To a Young Child; Heaven-Haven; My Own Heart Let Me More Have Pity On) ca. 10 min.
Lisa Jarnot
5 BLACK DOG SONGS; for soprano & clarinet
(Land and Sea; Lisa Jarnot; Hound Pastoral; This Most Perfect Hill; Greyhound Ode) ca. 7 min.
6 NIGHT SONGS; for soprano & alto flute
(Sinning Skel Misclape; Stein Meat Work; Vulpes Zerda Sonata; Husband Sonnet One; Husband Sonnet Two; Bar Course Excise Insensible) ca. 10 min
6 MORE NIGHT SONGS; for soprano & English horn (Birthday Ode; There Are Cats Everywhere Then; Words; Will This Change; The Real; Future Poem) ca. 10 min.
Richard Jones
THE BELL; six songs for tenor & bass clarinet
(The Bell; The Letter; The Widower; Song of the Old Man; Waiting) ca. 15 min.
Denise Levertov
THE FOUNTAIN; five songs for soprano (or mezzo-soprano) & viola
(The Fountain; The Depths; The Thread; The Presence; Lonely Man) ca. 11 min.
HE-WHO-CAME-FORTH; five songs for soprano (or mezzo-soprano) & English horn (or clarinet)
(He-Who-Came-Forth; Dream; Moon Tiger; Swan That Sings and; At David’s Grave) ca. 8 min.
3 TRYPTICHS; for soprano (or mezzo-soprano) & English horn
(Clouds; A Sound; Visistation. Overflow) ca.12 min.
MODULATIONS (Historia de un amor) 12 songs for mezzo-soprano & bassoon
(From Afar; Silk; The Phonecall; Psyche in Somerville; A Woman Pacing Her Room ... ; (The Woman Has Ceased to Pace ... ; Dream: Chateau de Galais; Like Loving Chekhov ; Fantasiestuck ; Modulations ; ‘Elle est Debrouiarde’ ; From Afar (II) ca. 40 min.
Pablo Neruda (translated by Alastair Reid)
LOVE & SILENCE; five songs for baritone & bassoon
([untitled], I Ask for Silence; Love; Here, There, Everywhere; Keeping Quiet) ca. 17:30 min.
Naomi Shihab Nye
THE WORLD IN TRANSLATION; six songs for mezzo-soprano & bass clarinet
(The World in Translation; The Song; Breaking My Favorite Bowl; Dew; West Side; The Traveling Onion) ca. 9 min.
Kathleen Raine
HIDDEN IS THE HEART; six songs for soprano (or mezzo-soprano) & alto flute
(Nocturne; In the Beck (Stream); Seed; Vegetation; Lament; Heroes) ca, 10 min.
Wallace Stevens
13 WAYS OF LOOKING AT A BLACKBIRD; for tenor & clarinet. ca, 5 min.
PETER QUINCE AT THE CLAVIER; four songs for tenor &bassoon. ca. 5 min.
LE MONOCLE DE MON ONCLE; song for tenor & altosaxophone. ca. 15 min.
A DISCOVERY OF THOUGHT; song for tenor & viola da gamba. ca. 5 min.SUNDAY MORNING; 8 songs for tenor & bass clarinet. ca. 13 min.
Kate Tempest
GROWING UP --FAST; seven songs for mezzo soprano & alto saxophone
(For my niece; Thirteen; School; Age is a pervert. Youth is a fascist; On Clapton Pond at dawn; Waking up with you this morning; The point) ca. 15 min.
Dylan Thomas
THIS SIDE OF THE TRUTH; five songs for countertenor &tenor saxophone
(This Side of the Truth; A Process in the Weather of the Heart; Light Breaks Where No Sun Shines; Should Lanterns Shine; Among Those Killed in the Dawn Raid Was a Man Aged a Hundred) ca. 12 min.
Walt Whitman
THREE LOVE SONGS; for baritone & cello
(The Dalliance of the Eagles; On the Beach at Night; Good-bye my Fancy!) ca. 12 min.
Thomas Wyatt
THE TIGER IN THE ROCK, song cycle for bass (or . baritone) and horn
(Pass Forth My Wonted Cries; When First Mine Eyes Did View and Mark; The Lively Sperks That Issue from Those Eyes; O Goodly Hand; What Rage Is This?; I Find No Peace; Marvel No More) ca. 35 min.
The first of the duo-songs (1980). An unusual challenge for both performers. Vocal range: G2-E4.
William Butler Yeats
OF SWANS, LOVE & THE MOON; six songs for countertenor & bassoon
(Leda and the Swan; A Memory of Youth; The Sorrow of Love; The Crazed Moon; The Lover Speaks ... ; The Wild Swans at Coole) ca. 10 min.
THE SECOND COMING; song for countertenor & bass trombone. ca. 3 min.
LATE INSTRUMENTAL SOLOS (2017)
These are short pieces, mostly less than two minutes long, written at the end of my career as a composer. As the titles may suggest, my intention was to poke fun at the heavy seriousnessof the classical music establishment, as well as to explore some of the possibilities of each instrument.
UP OVER & OUT for viola da gamba
HORNUCOPIA for flugelhorn (or cornet)
HORNBUSTLE for horn
IN A HARRY TONE for baritone saxophone (a tribute to Harry Carney of the Duke Ellington Orchestra)
UNDULATIONS for alto flute
VALSE FALSE for heckelphone or bassoon
CIMBALOMBA for cimbalom
AMARIMBA for marimba
VIOLA-O for viola (featuring open strings)
HARMONICANZONE for chromatic harmonica
HARMONIKATANZ for chromatic harmonica
COR ANGLAISANT for English horn
BASSONICA for bassoon
SAXSONG for soprano, alto or tenor saxophone
CROSSINGS for piano
ARPANTONICA for harp
VIOLINO! For violin
BASSICATO for double bass (Variations on Long Long Ago)
FLAUTONOMY for flute
These are short pieces, mostly less than two minutes long, written at the end of my career as a composer. As the titles may suggest, my intention was to poke fun at the heavy seriousnessof the classical music establishment, as well as to explore some of the possibilities of each instrument.
UP OVER & OUT for viola da gamba
HORNUCOPIA for flugelhorn (or cornet)
HORNBUSTLE for horn
IN A HARRY TONE for baritone saxophone (a tribute to Harry Carney of the Duke Ellington Orchestra)
UNDULATIONS for alto flute
VALSE FALSE for heckelphone or bassoon
CIMBALOMBA for cimbalom
AMARIMBA for marimba
VIOLA-O for viola (featuring open strings)
HARMONICANZONE for chromatic harmonica
HARMONIKATANZ for chromatic harmonica
COR ANGLAISANT for English horn
BASSONICA for bassoon
SAXSONG for soprano, alto or tenor saxophone
CROSSINGS for piano
ARPANTONICA for harp
VIOLINO! For violin
BASSICATO for double bass (Variations on Long Long Ago)
FLAUTONOMY for flute