Chronological list of compositions











Cerulean (Prélude #67, 2016); 3-1/2 minutes.
Piano solo.

Slate (Prélude #66, 2016); 3 minutes.
Piano solo.

Periwinkle (Prélude #65, 2016); 3 minutes.
Piano solo.

Sepia (Prélude #62, 2016); 2-3/4 minutes.
Piano solo.

Azure (Prélude #63, 2016); 3 minutes.
Piano solo.

Ivory (Prélude #62, 2016); 2-3/4 minutes.
Piano solo.

Maroon (Prélude #61, 2016); 3 minutes.
Piano solo.

Anniversary (2016); 2-1/4 minutes.
Piano solo. To Leonard Bernstein at 100. Commissioned by Lara Downes for her Anniversaries project. CF Peters, Edition 68563.



PRÉLUDES BOOK VI (#51-#60, 2015-16); 33 minutes, for piano solo
Edition Peters 68329f.

Krœlstächs (Prélude #60, 2016); 2-3/4 minutes.
Piano solo.

Füllingræ (Prélude #59, 2016); 3-1/4 minutes.
Piano solo. For David Falterman.

Sprüllinəƒ (Prélude #58, 2016); 3 minutes.
Piano solo.

Gnöpélledie (Prélude #57, 2016); 2 minutes. After Satie.
Piano solo.
First performance: Nicholas Underhill, piano. Spaces, Cleveland, Ohio, April 6, 2016.

Lèþidomm (Prélude #56, 2015); 3-1/4 minutes. To Amy Briggs.
Piano solo.

Twîfff (Prélude #55, 2015); 3 minutes.
Piano solo.

Fløpie (Prélude #54, 2015); 3 minutes.
Piano solo.

Twünk (Prélude #53, 2015); 2-3/4 minutes.
Piano solo.

Gfornafratz (Prélude #52, 2015); 3-1/2 minutes.
Piano solo.

Wayo (Prélude #51, 2015); 3-1/2 minutes.
Piano solo. For Sarah Bob.
First performance: Sarah Bob, piano. New Gallery Concert Series, Community Center of Boston, Boston, Massachusetts, May 12, 2016.

Entre nous (2016); 23 minutes. Commissioned by Boston Chamber Music Society.
Oboe and string quartet.
First performance:       Boston Chamber Music Society, Sander Theater, Cambridge, Massachusetts, April 9, 2017.
CF Peters, forthcoming.

Arabesques I Have Known (2016); 16 minutes. Commissioned by Boston Musica Viva.
Flute/piccolo, clarinet in Bflat, violin, violoncello, piano/Suzuki Andes keyboard, percussion.
First performance:       Boston Musica Viva, Tsai Performance Center, Boston, September 24, 2016.
CF Peters, forthcoming.

Violin Concerto No. 2 (2015-16); 22 minutes.
Violin and orchestra (3(picc)23(Bcl)2 4320 3 perc hp strings). For Danielle Maddon. Commissioned by the New England Philharmonic Orchestra.
First performance:       Danielle Maddon, violin, New England Philharmonic Orchestra. Tsai Performance Center, Boston, April 29, 2017.
CF Peters, forthcoming.

All That Chas (2015); 10 minutes.
Clarinet and string trio. For Dinosaur Annex, and to Eric Chasalow at 60.
First performance:       Dinosaur Annex Ensemble, Slosberg Recital Hall, Brandeis University, Waltham, Massachusetts. October 24, 2015.

Natura Morta (2015); 12 minutes.
Piano quartet. Commissioned by Network for New Music.
First performance:       Network for New Music, Settlement School (Mary Louise Curtis Branch), Philadelphia, Pennsylvania. April 17, 2016.
Edition Peters, forthcoming.


Symphony in D (Symphony #6) (2015); 30 minutes
Orchestra (3(picc)3(EHn)3(Bcl)3(Cbsn) 4330 3perc pno hp strings). Commissioned by the New England Philharmonic Orchestra.
First performance:             New England Philharmonic Orchestra, Richard Pittman, conductor. Tsai Performance Center, Boston, Massachusetts, April 30, 2016.

PRÉLUDES BOOK V (#41-#50, 2014-15); 33 minutes, for piano solo
Edition Peters 68329e.

Gatto (Prélude #50, 2015); 3-1/4 minutes.
Piano solo.

Ragno (Prélude #49, 2015); 3-1/2 minutes. For left hand only. For Geoffrey Burleson.
Piano solo.
First performance: Geoffrey Burleson, piano. Tribeca Music Festival, Cell Theater, New York City, May 17, 2015.

Ghepardo (Prélude #48, 2015); 3 minutes. For Sarah Bob.
Piano solo.

Uccello (Prélude #47, 2014); 3 minutes.
Piano solo.

Alce Americano (Prélude #46, 2014); 3-1/4 minutes.
Piano solo.

Moscerino (Prélude #45, 2014); 2-1/2 minutes.
Piano solo.

Zanzara (Prélude #44, 2014); 2-1/2 minutes.
Piano solo.

Riccio (Prélude #43, 2014); 3 minutes.
Piano solo.
First performance: Geoffrey Burleson, piano. Festival of New American Music, Sacramento State University, Sacramento, California. November 10, 2015.

Scoiattolo (Prélude #42, 2014); 4 minutes. To Amy Briggs.
Piano solo.

Mosca (Prélude #41, 2014); 2-1/2 minutes.
Piano solo.

Terrestrial Planets (2014); 20 minutes
Concerto for flute and wind ensemble (picc, 3fl, 2ob, 4cl, BCl, 2 bsn, 2ASax TSax, BSax, 4hn, 4tpt, 4trb, 2euph, Tuba, Pno, 4Perc, String Bass). For Mary Fukushima; consortium commission.
First performance:             Mary Fukushima with Southeastern Oklahoma State University Wind Ensemble, Jake Wallace, conductor, November 12, 2014.

The Mystery of Deep Candor (2014); 40 minutes
Soprano or mezzo-soprano and piano. Song cycle on poems of Denise Levertov. Ten songs, piano prélude, piano postlude, and four piano interludes. For Judith Bettina and James Goldsworthy.

PRÉLUDES BOOK IV (#31-#40, 2013-14); 30 minutes, for piano solo
Edition Peters 68329d.

Downward Facing Dog (Prélude #40, 2014); 2-1/2 minutes.
Piano solo.

Corpse (Prélude #39, 2014); 2-3/4 minutes.
Piano solo.

Scorpion (Prélude #38, 2014); 2-1/2 minutes.
Piano solo.

Cow and Cat (Prélude #37, 2013); 3 minutes.
Piano solo.

Happy Baby (Prélude #36, 2013); 2 minutes.
Toy piano. Also may be played on piano, organ, or any electronic keyboard, on marimba, vibraphone or crotales (4 players) or steel drum (8 players).

Tree (Prélude #35, 2013); 2-3/4 minutes.
Piano solo.

King Pigeon (Prélude #34, 2013); 4 minutes. To Tina Tallon.
Piano solo.

Cobra (Prélude #32, 2013); 3-1/4 minutes.
Piano solo.

Extended Puppy (Prélude #32, 2013); 2-3/4 minutes. For Blair McMillen.
Piano solo.
First performance:          Blair McMillen, piano. Institute for Advanced Study, Princeton, New Jersey, February 8, 2014.

Child’s (Prélude #31, 2013, for piano, toy piano, or both); 2 minutes. For Amy Briggs to celebrate her new Schoenhut toy piano.
Piano solo.

PRÉLUDES BOOK III (#21-#30, 2013); 32 minutes, for piano solo
Edition Peters 68329c.

Rustle (Prélude #30, 2013); 2-3/4 minutes.
Piano solo.

Bump (Prélude #29, 2013); 2-1/4 minutes.
Piano solo.

Rip (Prélude #28, 2013); 3-1/2 minutes.
Piano solo. For Amy Briggs. R.I.P. Milton Babbitt.

Cuckoo (Prélude #27, 2013); 3-1/2 minutes.
Piano solo.

Zap (Prélude #26, 2013); 3 minutes.
Piano solo.

Purr (Prélude #25, 2013); 2-1/2 minutes.
Piano solo.

Jangle (Prélude #24, 2013); 3 minutes.
Piano and toy piano.

Croak (Prélude #23, 2013); 2-1/2 minutes.
Piano solo.

Squish (Prélude #22, 2012); 3-1/2 minutes.
Piano solo.

Sizzle (Prélude #21, 2012); 3 minutes. For Billie Hunka.
Piano solo.
First performance: Marilyn Nonken, piano. University of Pennsylvania, Philadelphia, Pennsylvania. January 27, 2015.


Dance Episodes (Symphony #5) (2013); 25 minutes
Orchestra (3(picc)23(Bcl)2 4330 3perc pno hp strings). Commissioned by the New England Philharmonic Orchestra.
First performance:             New England Philharmonic Orchestra, Richard Pittman, conductor. Tsai Performance Center, Boston, Massachusetts, May 3, 2014 (first movement, Zephyrs). First complete performance October 25, 2014.

Blue Horizon (2013); 4-1/2 minutes
Piano solo. Competition piece for the New Music National Young Artist Competition (Chicago), 2013. Competition postponed.
Edition Peters 68431.

Breakdown (2013); 6-1/2 minutes
Piano quartet (vln, vla, vc, piano). Commissioned by the Verge Ensemble.
C.F. Peters, forthcoming.

Elegia (2002, 2013); 4 minutes
Clarinet choir or five clarinets (four Bf, one bass clarinet).
Edition Peters 68131b.

Hotfingers (2012); 10 minutes
Piano solo. Three vernacular nondances (Superfractalistic, Growing Season Blues and Écoutez et Répétez). Commissioned by Nick Phillips; to Gene Caprioglio. C.F. Peters, Edition 68450.
Recording:                        “American Vernacular”, Nick Phillips, piano. New Focus Recordings FCR 144.

PRÉLUDES BOOK II (#11-#20, 2011-12); 35 minutes, for piano solo
Edition Peters 68329b.

Mind the Gap (Prélude #20, 2012); 3 minutes.
Piano solo.

Mind the Gap (Prélude #19, 2012); 3 minutes. To Augusta Read Thomas.
Piano solo.

Mind the Gap (Prélude #18, 2012); 3-1/4 minutes. For Sarah Bob.
Piano solo.
First performance:         Sarah Bob, piano. New Gallery Concert Series, Community Center of Boston, Boston, Massachusetts, May 14, 2015.

Mind the Gap (Prélude #17 (a prime number), 2012); 2-3/4 minutes. To John Mackey.
Piano solo.

Mind the Gap (Prélude #16, 2012); 3-1/4 minutes.
Piano solo.

Mind the Gap (Prélude #15, 2012); 4-1/2 minutes. To Geoffrey Burleson.
Piano solo.
First performance:         Geoffrey Burleson, piano. Roulette, Brooklyn, New York, Tribeca New Music Festival, June 4, 2012.

Mind the Gap (Prélude #14, 2012); 3-1/2 minutes. To Amy Briggs.
Piano solo.

Mind the Gap (Prélude #13, 2012); 2-3/4 minutes.
Piano solo.

Mind the Gap (Prélude #12, 2011); 3-1/2 minutes.
Piano solo.

Mind the Gap (Prélude #11, 2011); 3-1/2 minutes.
Piano solo.

Symphony #4 “Scare Quotes” (2010-12); 26 minutes
Orchestra (2(picc)222 4330 2perc pno strings). Commissioned by the New England Philharmonic Orchestra. All the movements (Waning Crescent, Current Conditions, Ice to Rain and Double Shot) quote well-known public domain music (as detailed below), and any movement may be performed alone. C.F. Peters, Edition 68472.
First performance:             New England Philharmonic Orchestra, Richard Pittman, conductor. Tsai Performance Center, Boston, Massachusetts, October 27, 2012.

Waning Crescent (2012); 6-1/2 minutes
Orchestra (2(picc)222 4330 2perc pno strings). First movement of Symphony #4, may be performed by itself (Waning Crescent quotes the first movement of the third and fifth Brandenburg Concertos). C.F. Peters, forthcoming.

Double Shot (2012); 5 minutes
Orchestra (2(picc)222 4330 2perc pno strings). Finale of Symphony #4, and may be performed by itself. (Double Shot quotes the outer movements of Mozart’s 40th symphony). C.F. Peters, forthcoming.

Ice to Rain (2011); 7 minutes
Orchestra (2(picc)222 4330 2perc pnp strings). Third movement of Symphony #4, may also be performed by itself (Ice to Rain quotes the Urlicht movement of Mahler’s 2nd symphony). C.F. Peters, forthcoming.

Exact Change (2011); 8 minutes
Flute and soprano saxophone. For Mary Fukushima and Jeffrey Loeffert.
First performance:             Mary Fukushima and Jeffrey Loeffert, US Navy Band International Saxophone Symposium, George Mason University, Fairfax, Virginia, January 20, 2012.
Recording:                        Mary Fukushima and Jeffrey Loeffert, Blue Griffin Recording.
C.F. Peters, Edition 68386.

Fred (2011); 4-1/2 minutes
2 violins, viola, violoncello. Honoring Frederick Lawrence, new President of Brandeis University, and for the Lydian String Quartet.
First performance:             Lydian String Quartet, Slosberg Hall, Brandeis University, Waltham, MA, October 15, 2011.

Thickly Settled (2011); 18 minutes
Clarinet in Bf, violin, violoncello, piano. Commissioned by Catherine and Paul Buttenwieser for Boston Musica Viva. C.F. Peters, forthcoming.
First performance:             Boston Musica Viva, Richard Pittman, conductor. Tsai Performance Center, Boston, September 30, 2011.

Piano Concerto No. 2 (2011); 42 minutes
Piano/Celesta solo and orchestra (2 fl(picc), 2 ob(EHn), 2 cl, BCl, 2 bsn, 4 hn, 2 tpt, 2 trb, 3 perc, strings). For Amy Briggs. Commissioned by Boston Modern Orchestra Project with funds from the Jebediah Foundation. C.F. Peters, EP 68486.
First performance:             Amy Briggs, piano/celesta soloist. Gil Rose, conductor. Boston Modern Orchestra Project, Jordan Hall, Boston, January 17, 2014.
Recording:                        Amy Briggs, piano/celesta soloist. Gil Rose, conductor. BMOP/Sound 1044, expected late 2015.

Zyg Zag (2010); 17 minutes
Flute/piccolo, oboe, mandolin, guitar, violin, ‘cello. For the Cygnus Ensemble. C.F. Peters, forthcoming.
Preview performance:         Cygnus, Amphibian Series, HiArt Gallery, New York, New York, April 3, 2012.

Compass (2010); 19 minutes
Saxophone quartet (soprano, alto, tenor, baritone saxes). Commissioned by PRISM Quartet, Capitol Quartet, h2 quartet, Iridium Quartet, Oasis Quartet, Radnofsky Quartet, Red Clay Saxophone Quartet, United States Air Force Academy Band Saxophone Quartet, United States Coast Guard Saxophone Quartet, and Zzyzx Quartet. C.F. Peters, forthcoming.
First performance:             Prism Quartet, Symphony Space, New York City, June 3, 2011.
C.F. Peters, Edition 68441

PRÉLUDES BOOK I (#1-#10, 2010); 30 minutes, for piano solo
Edition Peters 68329a.
First performance, complete book:  Karl Larson, Bryan Recital Hall, Bowling Green State University, Bowling Green, Ohio, April 20, 2011.

Air an Aria (Prélude #10, 2010); 3 minutes
Solo piano.

Puff Up (If I Puff Up) (Prélude #9, 2010); 3-1/2 minutes
Solo piano.

So Many Dynamos (Prélude #8, 2010); 3-1/2 minutes
Solo piano.

Dr. Awkward (Prélude #7, 2010); 3 minutes
Solo piano.

In A Regal Age Ran I (Prélude #6, 2010); 4 minutes
Solo piano.

No, It Is Opposition (Prélude #5, 2010); 2-1/2 minutes
Solo piano.

Pull a Wall Up (Prélude #4, 2010); 3 minutes
Solo piano. To Geoffrey Burleson.

Too Hot to Hoot (Prélude #3, 2010); 3 minutes
Solo piano. To Tony de Mare.

Never Odd or Even (Prélude #2, 2010); 3-1/2 minutes
Solo piano. To Karl Larson.

Moody, My Doom (Prélude #1, 2010); 2-3/4 minutes
Solo piano. To Rick Moody.

Talking Points (Right Wing Echo Chamber) (2010); 13 minutes
Solo violoncello and 16 strings (4-4-3-3-2). For Fred Sherry and the Orchestra of the League of Composers.
First performance:             Fred Sherry, solo ‘cello. Orchestra of the League of Composers, Louis Karchin, conductor. Miller Theater, New York City, June 18, 2011.

Luccicare (2010); 6 minutes
Violoncello solo. For Rhonda Rider.
First performance:             Rhonda Rider. South Rim of the Grand Canyon, Arizona, February 26, 2011.
Recording:                        Rhonda Rider, ‘cello. “The Grand Canyon Project, MSR Classics MS 1462.
C.F. Peters, forthcoming.

Stolen Moments (2008, arranged 2010); 25 minutes
Chamber orchestra (2(picc)22(bcl)2 2000 pno, str(4-3-3-3-2)). Arrangement of the piece originally written for woodwind quintet, string quartet, and piano. Commissioned by the Kaufman Center, with funds from the NEA. To Yehudi Wyner at 80. C.F. Peters, Edition 68474a.
First performance:             U.S. Marine Chamber Orchestra, Jason Fettig, conductor. Rachel M. Schlesinger Concert Hall, Northern Virginia Community College, Arlington, Virginia, May 1, 2011.
Recording:                        Boston Modern Orchestra Project, Gil Rose, conductor. BMOP/sound 1044, expected late 2015.

ÉTUDES BOOK X (#91-#100, 2009-10); 30 minutes, for piano solo
Edition Peters 67928j.

Two Great Tastes (Étude #100, 2010); 2-1/2 minutes
Piano four hands. Four-hands combo étude, or two two-hand études, or both. For Amy Briggs and Adam Marks.
Erdnußbutter (étude #100a) étude on chromatic scales
Cioccolato (étude #100b) étude on crescendo/diminuendo repeated chords.
First performance:       Karl Larson and I-Chen Yeh, Cleveland Marriott East, November 11, 2010.

Mano War (Étude #99, 2010); 2-1/2 minutes
Solo piano. Étude on uneven hand alternation.

Mosso (Étude #98, 2010); 2-1/2 minutes
Solo piano. Étude on fast arpeggios in both hands.

Quietude (Étude #97, 2010); 3 minutes
Solo piano. Étude on dominant seventh chords. To Augusta Read Thomas.

Double Cross (Étude #96, 2010); 3 minutes
Solo piano. Étude on cross-accents.

Flit (Étude #95, 2010); 3-1/2 minutes
Solo piano. Étude on uneven repeated notes and swirls. For I-Chen Yeh.
First performance:       I-Chen Yeh, Cleveland Marriott East, November 11, 2010.

Knocksville (Étude #94, 2010); 2-1/2 minutes
Solo piano. Knocking and hitting étude. At Harold Meltzer.

Polkritude (Étude #93, 2009); 4 minutes
Solo piano. Polka étude. To Jim Ricci.
First performance:       Mary Kefferstan, Cleveland Marriott East, November 11, 2010.

You Blew It (Étude #92, 2009); 2-1/2 minutes
Solo piano. Étude with melodica.
First performance:       Geoffrey Burleson, Roulette, Brooklyn, New York. Tribeca New Music Festival, June 4, 2012.

Whole Lotta Shakin’ (Étude #91, 2009); 3 minutes
Solo piano. Étude on tremolos.    

‘Cell’Out (2009-10); 16 minutes
Four ‘cellos. For Rhonda Rider and her constellation.
First performance:             Rhonda Rider and students. Music from Salem, Cambridge, New York, June 6, 2009.

Current Conditions (2009-10); 5 minutes
Orchestra (2(picc)222 4330 2 perc, pno, strings). Commissioned by the U.S. Marine Chamber Orchestra. Is also the second movement of Symphony #4 (Current Conditions quotes Beethoven’s fifth symphony).
First performance:             U.S. Marine Chamber Orchestra, Jason Fettig, conductor. Rachel M. Schlesinger Concert Hall, Northern Virginia Community College, Arlington, Virginia, May 9, 2010.
Edition Peters 68305.

Double Fantasy (2009); 4 minutes
Piano trio. A fantasy on the hymns ¡Qué Detalle, Señor! and Soy Feliz. Commissioned by The Phoenix Concerts for the Finisterra Piano Trio.
First performance:             Finisterra Piano Trio, Church of St. Matthew and Timothy, New York City, May 28, 2010.

Three Flutudes (2008-9); 13 minutes. For Mary Fukushima. C.F. Peters, forthcoming.
Ram Tough (#1, 2008); 5 minutes, on tongue rams and beatboxing.
First performance:    Mary Fukushima, Ruel Joyce Recital Series, Overland Park, Kansas, October 19, 2009.
Slap Happy (#2, 2008); 4 minutes, on key slaps and tongue pizzicati.
First performance:    Mary Fukushima, Ruel Joyce Recital Series, Overland Park, Kansas, October 19, 2009.
Harm’s Way (#3, 2009), on harmonics and arpeggios.
First performance:    Mary Fukushima, Lewis and Clark College, Portland, Oregon, March 7, 2010.
Edition Peters, forthcoming

AhChim AnGae (2009); 7 minutes
HaeGeum (traditional Korean fiddle) and string trio. For the 2010 Pacific Rim Festival.
First performance:             Soo-Neong Chung, HaeGeum; Del Sol String Quartet. University of California, Santa Cruz, April 22, 2010.
East coast premiere:           Soo-Neong Chung, HaeGeum; Del Sol String Quartet. Slosberg Hall, Brandeis University, Waltham, MA, April 26, 2010.

Étude-Fantasies (2009); 7 minutes
Piano four hands. Seven pieces for piano students aged 11-13. Commissioned by the “Friends of Today’s Music” program of the Music Teacher’s Association of California.
First performances:            Three duos of piano students age 9-16, CMTA conference, Airport Marriott Hotel, Los Angeles, California, July 5, 2010.
Edition Peters 68307.

Mikronomicon (2009); 19 minutes
Microconcerto for piano and small ensemble (flute, clarinet, violin, ‘cello and percussion). For Geoffrey Burleson. The soloist and percussionist both also play melodica. Commissioned by Boston Music Viva. C.F. Peters, forthcoming.
First performance:             Boston Musica Viva with Geoffrey Burleson, soloist, Tsai Performance Center, Boston, November 20, 2009.
European premiere:           Boston Musica Viva with Geoffrey Burleson, soloist, Kings Place, London, England, March 27, 2010.

ÉTUDES BOOK IX (#81-#90, 2007-9); 27 minutes, for piano solo
Edition Peters 67928i.

Solid Goldie (Étude #90, 2009); 2-1/2 minutes
Solo piano. Étude on G-C-H in search of a lullaby. For Marilyn Nonken and Goldie Celeste Hunka.
First performance:       Marilyn Nonken, San Francisco State University, San Francisco, California, November 4, 2009.

This Means Warble (Étude #89, 2009); 3 minutes
Solo piano. Étude on two-note warbling figures.

Toyed Together (Étude 88, 2008); 2 minutes
Solo piano with toy piano. Étude with toy piano.

Berceuse (Étude #87, 2008); 2 minutes
Solo piano, toy piano, or both. Five-finger étude. To Rick Moody, Amy Osborn, and Hazel Jane.

Prog Springs Eternal (Étude #86, 2008); 4 minutes
Solo piano. Prog rock étude. To Rick Moody and Geoffrey Burleson.
First performance:       Geoffrey Burleson, piano. St. Thomas University, Fredericton, New Brunswick, Canada, February 26, 2009.
American premere:      Geoffrey Burleson, piano. Lang Recital Hall, Hunter College CUNY, March 9, 2009.

Diminishing Return (Étude #85, 2008); 2-1/2 minutes
Solo piano. Étude on fading repeated notes.
First performance:       Karl Larson, Bang on a Can Summer Institute. Mass MOCA, North Adams, Massachusetts, July 26, 2010.

What’s Hairpinning (Étude #84, 2008); 3 minutes
Solo piano. Étude on dynamic swells.
First performance:       Karl Larson, Bang on a Can Summer Institute. Mass MOCA, North Adams, Massachusetts, July 26, 2010.

M’Aidez (Étude #83, 2008); 2-1/2 minutes
Solo piano. Étude on escaping arpeggios. For Nathanael May.
First performance:       Marilyn Nonken, San Francisco State University, San Francisco, California, November 4, 2009.

F This (Étude #82, 2007); 2-1/2 minutes
Solo piano. Single note étude. To Ken Ueno and Marilyn Nonken.
First performance:       Marilyn Nonken, piano, played as an encore. Loewe Theater, New York University, New York, New York, February 21, 2008.
Official premiere:        Marilyn Nonken, San Francisco State University, San Francisco, California, November 4, 2009.
Kai’n Variation (Étude #81, 2007); 1-1/2 minutes
Solo piano. Étude on diatonic scale fragments (on a theme by Kai Schumacher). For Kai Schumacher.
First performance:       Seunghee Lee, piano. Slosberg Recital Hall, Brandeis University, Waltham, Massachusetts, April 16, 2008.
European premiere:     Kai Schumacher, Folkwang-Hochschule, Duisberg, Germany, January 28, 2009.

High Def (2009); 1-1/2 minutes
Voice and piano. For Gilad Harel and Alexander Lane.
First performance:             Gilad Harel and Alexander Lane, Slosberg Hall, Brandeis University, Waltham, Massachusetts, May 1, 2009.

Music for Hecuba (2008-9); 25 minutes
Piano and string quartet and occasionally voice. Twelve cues of varying length written as incidental music for the April, 2009 production of Hecuba by the Brandeis Theater Company. Directed by Eric Hill, Sound design by J Jumbelic. Not for concert performance.

Stolen Moments (2008); 25 minutes
Woodwind quintet, string quartet, and piano. Commissioned by the Kaufman Center, with funds from the NEA, for performance at Merkin Hall by Zephyros winds, Lark Chamber Artists, and Anthony de Mare. To Yehudi Wyner at 80. C.F. Peters, forthcoming.
First performance:             Zephyros Winds, Lark Chamber Artists and Anthony de Mare, and Greg Evans, conductor. Merkin Concert Hall, New York City, May 30, 2009.
C.F. Peters, Edition 68474.

Phillis Levin Songs (2007-8); 19 minutes
Soprano and Pierrot ensemble (flute doubling on piccolo, clarinet in Bf, violin, violoncello and piano). Settings of six poems (Caesura, Acorn, Promise, In Praise of Particles, Letter to the Snow, OnTime) by Phillis Levin. For Judith Bettina. Commissioned by Collage New Music.
First performance:             Judith Bettina, soprano; David Hoose, conductor. Collage New Music, Pickman Hall, Longy School of Music, Cambridge, Massachusetts, March 2, 2009.

ÉTUDES BOOK VIII (#71-#80, 2006-7); 37 minutes, for piano solo
Edition Peters 67928h.

Fireworks (Étude #80, 2007); 2-1/2 minutes
Solo piano. Arpeggio étude.
First performance:       Seunghee Lee, piano. Slosberg Recital Hall, Brandeis University, Waltham, Massachusetts, April 16, 2008.

Narcissitude (Étude #79, 2007); 3 minutes
Solo piano. Fast mirror étude. To Michael Kirkendoll.

Upon Reflection (Étude #78, 2007); 2-1/2 minutes
Solo piano. Slow mirror étude. To Michael Kirkendoll.

Ecco Eco (Étude #77, 2007); 2-1/2 minutes
Solo piano. Echo étude. To Corey Hamm.

Clave (Étude #76, 2007); 2-1/2 minutes
Solo piano. Étude on the clave rhythm. For Geoffrey Burleson.
First performance:       Geoffrey Burleson, piano. AJ Fletcher Recital Hall, East Carolina University, Greenville, North Carolina, March 1, 2008.

Twilight (Étude #75, 2006); 3 minutes
Solo piano. Étude on melodic thirds.

Not (Étude #74, 2006); 7-1/2 minutes
Solo piano. Talking pianist étude. For Adam Marks. Text by Rick Moody.
First performance:       Adam Marks, piano/speaker. Salle Cortot, Paris, France, March 9, 2007.

Heavy Hitter (Étude #73, 2006); 3 minutes
Solo piano. Fortissimo etude. To Michael Kirkendoll.
First performance:       Michael Kirkendoll, piano. St. Paul’s Chapel, New York City, February 12, 2007.

Dorian Blue (Étude #72, 2006); 5 minutes
Solo piano. Étude on two-hand flourishes (on an ancient Hebrew melody in the Dorian mode). For Donald Berman.
First performance:       Donald Berman, piano. First Church, Boston, Dinosaur Annex Concert, April 29, 2007.

Chase (Étude #71, 2006); 4 minutes
Solo piano. Étude with optional celesta part. For Donald Berman.
First performance:       Donald Berman, piano. First Church, Boston, Dinosaur Annex concert, April 29, 2007.

Cantina (2007); 28 minutes
Wind ensemble (Picc, 2 Fl, AFl, 2 Ob, EngHn, EfCl., 3 BfCl, ACl, BCl, CBCl, 2 Bsn, CBsn, 2ASax, TSax, BSax, 4 Hn, 4 Tpt, 4 Trb, 2 Euph, Tuba, Harp, 4 perc, String Bass). Commissioned by the Barlow Foundation for the US Marine Band, the Meadows Wind Ensemble of Southern Methodist University, the University of Michigan Wind Ensemble, the UCLA Wind Ensemble and the BYU Wind Ensemble.
First performances:            “The President’s Own” United States Marine Band, Colonel Michael Colburn, conductor. Rachel M. Schlesinger Concert Hall, Northern Virginia Community College, Alexandria, Virginia, March 2, 2008.
University of Michigan Wind Ensemble, Michael Haithcock, conductor. University of Michigan, Ann Arbor, Michigan, November 21, 2008.
Brigham Young University Wind Symphony, Don Peterson, conductor. De Jong Concert Hall, Brigham Young University, Provo, Utah, December 10, 2008.
C.F. Peters, Edition 68197.

Gli Uccelli di Bogliasco (2006); 12 minutes
Flute/piccolo and two pianos. Commissioned by Michael Kirkendoll, Mary Fukushima, and Nathanael May with funds from the University of Kansas.
First performance:             Mary Fukushima, flute/piccolo; Michael Kirkendoll and Nathanael May, pianos. Swarthout Recital Hall, University of Kansas, Lawrence, Kansas, November 15, 2006.
C.F. Peters, forthcoming

Disparate Measures (2006); 16 minutes
Piano quintet (2 violins, viola, violoncello, piano). For the Stony Brook Contemporary Chamber Players.
First performance:             Stony Brook Contemporary Chamber Players, SUNY Stony Brook, November 9, 2006, and Tenri Cultural Institute, New York City, November 11, 2006.
C.F. Peters, forthcoming.

Piano Concerto (2005-6); 35 minutes
Piano/Toy piano solo and orchestra (2 fl(picc), 2 ob, 2 cl, BCl, 2 bsn, 4 hn, 2 tpt, 2 trb, 3 perc, strings). For Marilyn Nonken. Co-commissioned by the Koussevitzky Music Foundation with Boston Modern Orchestra Project.
First performance:             Marilyn Nonken, piano/toy piano solo, Boston Modern Orchestra Project, Gil Rose, conductor. Jordan Hall, Boston, November 2, 2007.
Recording:                        BMOP/Sound 1009.
C.F. Peters, Edition 68388.

ÉTUDES BOOK VII (#61-#70, 2004-6); 30 minutes, for piano solo
Edition Peters 67928g. Recording on Bridge Records (CD9310) by Amy Briggs.

Stutter Stab (Étude #70, 2006); 3 minutes
Solo piano. Étude on sharp dynamic contrasts.

Palm de Terre (Étude #69, 2006); 2-1/2 minutes
Solo piano. Étude on palm and finger clusters.
First performance:       Amy Briggs, piano. University of Melbourne, Melbourne, Australia, August 11, 2008.
American premiere:     Amy Briggs, piano. An Die Music, Baltimore, Maryland, January 26, 2009.

Absofunkinlutely (Étude #68, 2005); 3 minutes
Solo piano. Funk étude.
First performance:       Adam Marks, “Lives of the Piano” series, The Piano and Dance, Greenfield Hall, Manhattan School of Music, New York, October 13, 2005.
Fondation André Chevillion-Yvonne Bonnaud Composition Prize, Concours international de piano d’Orléans, February, 2006.

Ain’t Got No Right (Étude #67, 2005); 3 minutes
Solo piano. Left hand étude. For Corey Hamm.
First performance:       Corey Hamm, piano. Lloyd Ultan Hall, University of Minnesota, May 6, 2005.

Less Is (Étude #66, 2005); 2-1/2 minutes
Solo piano. Impatient minimalist étude on chord-building. To Rick Moody.

Rick’s Mood (Étude #65, 2002,4,5); 2 minutes
Solo piano. Chorale-étude on major triads.
First performance:       Amy Briggs Dissanayake, piano. Barnett Foundation, Chicago, February 11, 2007.

A Third in the Hand (Étude #64, 2004); 2-1/2 minutes
Solo piano. Étude on arpeggiated thirds.

Killer B’s (Étude #63, 2004); 3 minutes
Solo piano. Étude on a pedal.
First performance:       Danielle Ingram, Bristol Chapel, Westminster Choir College, Princeton, New Jersey, November 20, 2005.

Name That Turn (Étude #62, 2004); 2-1/2 minutes
Solo piano. Étude on turns.

Ménage à Droit (Étude #61, 2004); 3 minutes
Solo piano. Right hand étude.
First performance:       Marilyn Nonken, San Francisco State University, San Francisco, California, November 4, 2009.

Living Large (2006); 6 minutes
Solo Bass Clarinet with Bf extension. For Barbara Haney.
First performance:             Barbara Haney, International Clarfest, Atlanta, Georgia, August 11, 2006.

Snaggle (2005); 10 minutes
Cohort of hand drums (frame drum, talking drum, tabla, bongos, Ball canning jar) in three movements. Commissioned by Michael Lipsey.
Recording:                        First two movements recorded by Michael Lipsey, Capstone Records CPS-8773.
Calabrese Brothers Music, Inc.

The Bacchae (2005) ca. 25 minutes
String quartet and timpani. Incidental music for a Brandeis University production of The Bacchae by Euripides, for the Lydian String Quartet and timpani. Directed by Eric Hill, Sound Design by J. Hagenbuckle. 35 cues of varying lengths. Not for concert performance.
First performance:             on tape, for six performances, April and May, 2006.

It Takes Nine to Funk (2005); 3-1/2 minutes
Six clarinets, two bass clarinets and contrabass clarinet. (arrangement of étude #68)
C.F. Peters, Edition 67928gg.

Inside Story (Piano Trio #3, 2005); 14 minutes
Piano trio. Commissioned by the Vermont Musica Viva Festival.
First performance:             Curtis Macomber, violin, Norman Fischer, ’cello, Jeanne Kierman, piano. Vermont Musica Viva Festival, Norwich, Vermont, October 14, 2005.
C.F. Peters, Edition 68134.

Elegy (2002, arr. 2005); 4 minutes
Solo organ. Sara for piano, arranged for organ by Carson Cooman.
First performance:             Carson Cooman, Pittsburgh, PA, July 13, 2005.
C.F. Peters, Edition 68131a.

Sex Songs (2000, 2004-5); 21 minutes
Soprano voice, Bf clarinet, piano, violin, viola, violoncello. Poems by Edna St. Vincent Millay, Sophie Wadsworth, Ida Thøennkittüpp, and Rick Moody. For Susan Narucki.
First performance:             Susan Narucki, soprano, Jan Krzywicki, conductor. Network for New Music (presented by the Philadelphia Orchestra on their 2007 Leonard Bernstein Festival), Perelman Theater, Kimmel Center for the Performing Arts, Philadelphia, Pennsylvania, January 16, 2008.

Rule of Three (2004); 10 minutes
Flute, clarinet, piano.
Commissioned by Kettles Yard, University of Cambridge, England.
First performance:             Rob Bailis, Lisa Nelson and Daniel Becker, Kettles Yard, University of Cambridge, May 15, 2005.
American premiere:           Cadenzato (Elizabeth Downing, Beth Wiemann and Philip Silver), Minsky Recital Hall, University of Maine, Orono, Maine, September 23, 2008.
C.F. Peters, Edition 68133.

Four Rivers (2004); 10 minutes
Flute, clarinet, horn and 5-octave marimba.
Commissioned by the Rivers Music School in Weston, Massachusetts for students to perform on their 2005 contemporary music festival.
First performance:             April 3, 2005 at the Rivers School.

Sibling Revelry (2002-3/4); 14 minutes
Wind ensemble (Picc, 2 fl, Afl, 2 ob, EngHn, Efcl., 3 Bfcl, Acl, Bcl, CBcl, 2 Bsn, CBsn, 2Asax, Tsax, Bsax, 4 hn, 4 tpt, 4 trb, 2 euph, tuba, 4 perc). Four character pieces for wind ensemble (Zipper Tango, Strident, Bop It, Moody’s Blues) arranged from piano études.
First performance:             December 15, 2004 (twice), by “The President’s Own” U.S. Marine Band, Midwest Conference and Clinic, International Ballroom, Hilton Towers, Chicago, conducted by Lt. Col. Michael Colburn.
Recording:                        “The President’s Own” U.S. Marine Band, USMB-CD 29.
C.F. Peters, Edition 67928ff.

Dance Suite (2002-3/4); 11 minutes
Piano solo. Collection of dance pieces from Études Books V and VI.
C.F. Peters, forthcoming.

Beezle Nose (2004); 1-1/2 minutes
Piano solo. For a concert honoring Robert Ceely on the occasion of his retirement.
First performance:             Malcom Peyton, piano, February 3, 2004, Jordan Hall, Boston.

Seven Duets (2004); ca. 1 minute each
Piano four hands. Commissioned by James Goldsworthy for his piano students aged ca. 10-11.
First performance:             June 11, 2005, by students of James Goldsworthy, Lawrenceville School, Lawrenceville, New Jersey.

Martian Counterpoint (2000, 2003); 7 minutes
Concerto group of ten clarinets (same as Ten of a Kind) and ripieno group of 15 clarinets (9 parts), and one percussionist. An arrangement of the fourth movement of Ten of a Kind for the clarinet section of the US Marine Band
First performance:             US Marine Band clarinet section, July 25, 2004, at the International Clarinet Fest, College Park, Maryland.
C.F. Peters, Edition 67978a.

Twofer (2003); 6 minutes
Violin and ‘cello. Commissioned by Dinosaur Annex for choreography.
First performance:             November 14 and 15, 2003, Tsai Performance Center. Dinosaur Annex with choreography (“The Jeweler’s Daughter”) by Nicola Hawkins.
C.F. Peters, Edition 68444

ÉTUDES BOOK VI (#51-#60, 2003); 30 minutes, for piano solo
Edition Peters 67928f. Recording of Zipper Tango (étude 51) forthcoming on a tango album recorded by Amy Briggs. Recording of complete book on Bridge Records (CD9310), performed by Amy Briggs. Zipper Tango also recorded on Ravello Records (RR7708).

Accents of Malice (Étude #60, 2003); 3 minutes
Solo piano. Étude on accents.

Zeccatella (Étude #59, 2003); 3-1/2 minutes
Solo piano. Staccato-legato étude. For Amy Dissanayake.
First performance:       Geoffrey Burleson, piano, February 19, 2005, Bellefield Hall, University of Pittsburgh.

Wound Tight (Étude #58, 2003); 2-1/2 minutes
Solo piano. Fast chord étude. For Corey Hamm.
First performance:       Corey Hamm, piano. May 6, 2005, Lloyd Ultan Hall, University of Minnesota.

Chord Shark (Étude #57, 2003); 3 minutes
Solo piano. Slow étude on thick chords. For Corey Hamm.
First performance:       Corey Hamm, piano. May 6, 2005, Lloyd Ultan Hall, University of Minnesota.

Crazy Eights (Étude #56, 2003); 2 minutes
Solo piano. Fast octave and black key/white key étude.

Eight Misbehavin’ (Étude #55, 2003); 3 minutes
Solo piano. Slow octave étude. For Amy Osborn.
First performance:       Nicola Melville, piano, April 16, 2004, Brenneman Music Hall, Heidelberg College, Tiffin, Ohio.

Pedal to the Metal (Étude #54, 2003); 3 minutes
Solo piano. Pedaling étude. To Rick Moody.

Cell Division (Étude #53, 2003); 2-1/2 minutes
Solo piano. Treble étude on arpeggios (derived from cell phone sounds).
First performance:       Augustus Arnone, piano, April 28, 2005, Merkin Hall, New York City.

Moody’s Blues (Étude #52, 2003); 3 minutes
Solo piano. Rock and roll étude on repeated chords. To Rick Moody.
First performance:       Michael Kirkendoll, piano. St. Paul’s Chapel, New York City, February 12, 2007.

Zipper Tango (Étude #51, 2003); 3 minutes
Solo piano. Tango-étude on grace notes. For Amy Dissanayake.
First performance:       Amy Dissanayake, Symphony Center, Chicago Symphony MusicNOW series concert, April 18, 2004.

Dream Symphony (Symphony #3, 2003); 30 minutes
String orchestra (8-6-5-4-2). For the New England String Ensemble.
First performance:             New England String Ensemble, Susan Davenny Wyner, conductor. Merrimack College and Jordan Hall, Boston, January 31 and February 1, 2004.
C.F. Peters, Edition 68135.

Violin Songs (2003); 18 minutes
Soprano voice and violin. For Susan Narucki and Curtis Macomber.
Poems by Eiléan Ni Chuilleanáin, Muriel Rukeyser, Robert Frost, Louise Gluck, and William Carlos Williams.
First performance:             Susan Narucki and Curtis Macomber, Double Exposure series, Lincoln Center Chamber Music Society, New York City, November 18, 2004.

Sara (2002); 4 minutes
Piano solo, intermediate level. Commissioned by James Goldsworthy in memory of Sara Doniach and performed by Sara’s students.
First performance:             James Goldsworthy, piano, December 3, 2004. Institute for Advanced Study, Princeton, New Jersey.
Recording:                        James Goldsworthy, piano. Bridge Records CD 9199.
C.F. Peters, Edition 68131.

Trompe l’oeil (2002); 2-1/2 minutes
2 marimbas. For Stephen Paysen and Dominic Donato.
First performance:             Stephen Paysen and Dominic Donato, Leonard Nimoy Thalia Theater, Symphony Space, New York, October 21, 2003.

ÉTUDES BOOK V (#41-#50, 2002); 30 minutes, for piano solo
Edition Peters 67928e. Commissioned by the Fromm Music Foundation. Recorded on Bridge Records (CD 9157, CD 9310) by Amy Dissanayake/Amy Briggs.

No Stranger to Our Planet (Étude #50, 2002); 2-1/2 minutes
Solo piano. Étude on register shifts.
First performance:       Amy Dissanayake, Rappoport Treasure Hall, Brandeis University, March 12, 2003.
Recording:                  Amy Dissanayake, Bridge Records 9157.

Saltimmano (Étude #49, 2002); 3 minutes
Solo piano. Finger-pedaling étude.
First performance:       Amy Dissanayake, Rappoport Treasure Hall, Brandeis University, March 12, 2003.

What Half-Diminishes One (Half Diminishes All) (Étude #48, 2002); 3 minutes
Solo piano. Chorale-étude on half-diminished seventh chords. To Eric Chafe.
First performance:       Amy Dissanayake, Rappoport Treasure Hall, Brandeis University, March 12, 2003.
Recording:                  Amy Dissanayake, Bridge Records 9157.

Fra Diabolis (Étude #47, 2002); 2 minutes
Solo piano. Étude on tritones.
First performance:       Amy Dissanayake, Rappoport Treasure Hall, Brandeis University, March 12, 2003.
Recording:                  Amy Dissanayake, Bridge Records 9157.

Durchrauscht die luft (Étude #46, 2002); 2-1/2 minutes
Solo piano. Étude on sevenths.
First performance:       Amy Dissanayake, Rappoport Treasure Hall, Brandeis University, March 12, 2003.
Recording:                  Amy Dissanayake, Bridge Records 9157.

Pink Tab (Étude #45, 2002); 3 minutes
Solo piano. Accelerando-ritenuto étude.
First performance:       Amy Dissanayake, Rappoport Treasure Hall, Brandeis University, March 12, 2003.

Triaddled (Étude #44, 2002); 2-1/2 minutes
Solo piano. Étude on triads.
First performance:       Amy Dissanayake, Rappoport Treasure Hall, Brandeis University, March 12, 2003.

Wiggle Room (Étude #43, 2002); 3 minutes
Solo piano. Étude on fast notes moving in parallel.
First performance:       Amy Dissanayake, Rappoport Treasure Hall, Brandeis University, March 12, 2003.
Recording:                  Amy Dissanayake, Bridge Records 9157.

Madam I’m Adam (Étude #42, 2002); 2-1/2 minutes
Solo piano. Little palindrome étude.
First performance:       Adam Marks, Manhattan School of Music, New York City, February 16, 2003.

Bop It (Étude #41, 2002); 2-1/2 minutes
Solo piano. Bop étude. For Geoffrey Burleson.
First performance:       Amy Dissanayake, Rappoport Treasure Hall, Brandeis University, March 12, 2003.
Recording:                  Amy Dissanayake, Bridge Records 9157.

ÉTUDES BOOK IV (#31-#40, 2000-2002); 30-35 minutes, for piano solo
Edition Peters 67928d. Recording of all of Book IV except Luceole and Purple by Amy Dissanayake on Bridge Records 9157. Luceole and Purple recorded by Amy Dissanayake on Bridge Records 9121. Sliding Scales recorded by Marilyn Nonken on Albany Records, Troy 681.

Strident (Étude #40, 2002); 3 minutes
Solo piano. Stride piano étude. For Amy Dissanayake.
First performance:       Amy Dissanayake, piano. Kosciuszko Foundation, New York City, November 24, 2002.

Sixth Appeal (Étude #39, 2002); 3 minutes
Solo piano. Étude on sixths.
First performance:       Amy Dissanayake, piano. Kosciuszko Foundation, New York City, November 24, 2002.

Silent But Deadly (Étude #38, 2002); 2-1/2 minutes
Solo piano. Pianissimo étude.
First performance:       Amy Dissanayake, Rappoport Treasure Hall, Brandeis University, March 12, 2003.

Taking the Fifths (Étude #37, 2002); 2-1/2 minutes
Solo piano. Étude on perfect fifths.
First performance:       Amy Dissanayake, piano. Kosciuszko Foundation, New York City, November 24, 2002.

Purple (Étude #36, 2001); 2-1/2 minutes
Solo piano. Étude on a chord. For Amy Dissanayake.
First performance:       Amy Dissanayake, piano. Soundfield, Northwestern University, October 17, 2001.
Recording:                  Amy Dissanayake, piano, Bridge 9121.

Luceole (Étude #35, 2001); 2-1/2 minutes
Solo piano. Étude on rising seconds and thirds. For Amy Dissanayake.
First performance:       Amy Dissanayake, piano. Soundfield, Northwestern University, October 17, 2001.

Chorale Fantasy (Étude #34, 2001); 4 minutes
Solo piano. Slow étude on an embedded melody.

Sliding Scales (Étude #33, 2001); 2-1/2 minutes
Solo piano. Gonzo étude on scales. For Marilyn Nonken.
First performance:       Marilyn Nonken, piano. University of California Santa Cruz, October 3, 2002.

Boogie Ninths (Étude #32, 2000); 2 minutes
Solo piano. Étude on ninths.

Usurpation (Étude #31, 2000); 2 minutes
Solo piano. Étude on a persistent slow trill.
Appears in Perspectives of New Music festschrift for Martin Boykan’s 70th birthday.
C.F. Peters, from Edition 67978d.
First performance:       Amy Dissanayake, Slosberg Hall, Brandeis University, March 15, 2003.


Class of 1952 Fanfare (2002); 3-1/2 minutes
2 trumpets, horn, trombone, and tuba. Commissioned by the Class of 1952 of Brandeis University.
First performance:             Commencement, Brandeis University, May 26, 2002.

Memorial (2002); 10 minutes
Clarinet, viola and piano. Commissioned by Richard and Linda Kerber in memory of a colleague. Version with cello instead of viola also exists.
First performance:             September 7, 2002, Iowa City with Richard Kerber (clarinet) and colleagues.

Locking Horns (2001-2); 18 minutes
Concerto for horn and chamber orchestra of 14 players. Commissioned by Sequitur for Daniel Grabois.
First performance:             Daniel Grabois, horn soloist; Sequitur, Paul Hostetter, conductor. Alice Tully Hall, New York City, May 21, 2002.
Recording:                        Sequitur, Albany Records Troy 607.
First prize in 2003 International Horn Society composition competition.
C.F. Peters, Edition 67995.

Ten of a Kind (Symphony No. 2) (2000); 28 minutes
Wind ensemble (Picc, 2 fl, AFl, 2 ob, EH, Ef cl, 6 Bf cl, ACl, BCl, CBCl, 2 bsn, Cbsn, 2 Asax, Tsax, Bsax, 4 hn, 4 tpt, 4 trb, 2 euph, tuba, 4 perc). Also a concerto for the clarinet section with wind ensemble.
Commissioned by “The President’s Own” U.S. Marine Band.
First performance:             U.S. Marine Band, George Mason University, May 20, 2001. “International premiere” at the WASBE Conference, Lucerne, Switzerland, July 13, 2001.
Recordings:                       U.S. Marine Band, USMB-CD 17.
                                       U.S. Marine Band, live performance from Lucerne, Tonstudio Amos 1893.
                                       U.S. Marine Band, Albany Records Troy 681.
C.F. Peters, Edition 67978.
Selected for inclusion in the collection of the Barr Institute for American Composition Studies.
Pulitzer Prize finalist, 2002.

The Gardener (2000); 5 minutes
Soprano, Bf clarinet, violin, viola, 'cello and piano. For Network for New Music. Also appears as second song of Sex Songs.
Poem by Sophie Wadsworth.
First performance:             Martha Elliott, soprano. Network for New Music, Jan Krzywicki, conductor, Philadelphia, January 26, 2001.
C.F. Peters, Edition 67749.

Georgic (2000); 3 minutes
Soprano and piano. For Judith Bettina. Commissioned by James Goldsworthy.
Poem by Phillis Levin.
First performance:             Judith Bettina, soprano. James Goldsworthy, piano. Fine Hall, Princeton University, April 1, 2001.
Recording:                        Judith Bettina, soprano. James Goldsworthy, piano. Bridge Records 9199.
C.F. Peters, Edition 68130.

Gut Reaction (2000); 15 minutes
Bf clarinet, violin, viola, 'cello, piano. Commissioned by Network for New Music.
First performance:             Network for New Music, Jan Krzywicki, conductor, Philadelphia, January 26, 2001.
C.F. Peters, Edition 67843.

When the Bow Breaks (2000); 13 minutes
Solo violin. For Curtis Macomber.
First performance:             Curtis Macomber, Monadnock Music, Nelson, New Hampshire, August 10, 2000.
Recording:                        Curtis Macomber, for future release, label to be determined.
C.F. Peters, Edition 67871.

ÉTUDES BOOK III (#21-#30, 1999-2000); 35 minutes, for piano solo
Edition Peters 67928c. Recording of complete book on Bridge 9121, Amy Dissanayake, piano. Recordings also of Roll Your Own, Fists of Fury and Twelve-Step Program by Marilyn Nonken on Albany Records Troy 681.

A Gliss is Just a Gliss (Étude #30, 2000); 2 minutes
Solo piano (étude on glissandi).
First performance:       Amy Dissanayake, Barnett Foundation, Chicago, January 20, 2002.

Roll Your Own (Étude #29, 2000); 3-1/2 minutes
Solo piano (étude on rolled chords). For Jason Eckardt.
First performance:       Marilyn Nonken, Ensemble 21, Miller Theater, New York City, April 24, 2001.

You've Got Scale (Étude #28, 2000); 3 minutes
Solo piano (étude on scales and arpeggios). For Teresa McCollough.
First performance:       Amy Dissanayake, Barnett Foundation, Chicago, January 20, 2002.

Halftone (Étude #27, 2000); 2 minutes
Solo piano (right-hand/white-note, left-hand/black-note étude).
First performance:       Amy Dissanayake, Barnett Foundation, Chicago, January 20, 2002.

Once Bitten (Étude #26, 2000); 2-1/2 minutes
Solo piano (étude on mordents).
First performance:       Amy Dissanayake, Barnett Foundation, Chicago, January 20, 2002.

Fists of Fury (Étude #25, 1999); 3 minutes
Solo piano (extremely fast étude for fists). For Marilyn Nonken.
First performance:       Marilyn Nonken, Ensemble 21, Miller Theater, New York City, April 24, 2001.

Horned In (Étude #24, 1999); 2-1/2 minutes
Solo piano (étude on horn fifths). For David Horne.
First performance:       David Horne, Harvard University, November 16, 1999.
First concert performance:        Geoffrey Burleson, Phantom Arts, Slosberg Hall, Brandeis University, February 9, 2001.

You Dirty Rag (Étude #23, 1999); 2-1/2 minutes
Solo piano (étude on melody in the left thumb).
First performance:       Geoffrey Burleson, Phantom Arts, Slosberg Hall, Brandeis University, February 9, 2001.

Schnozzage (Étude #22, 1999); 2-1/2 minutes
Solo piano (étude for nose or a three-hand étude) .
First performance:       Geoffrey Burleson, Phantom Arts Ensemble, Slosberg Hall, Brandeis University, February 9, 2001.

Twelve-Step Program (Étude #21, 1999); 2-1/2 minutes
Solo piano (étude on chromatic scales and wedges). For Marilyn Nonken.
First performance:       Marilyn Nonken, Ensemble 21, Miller Theater, New York City, April 24, 2001.

Pied-à-Terre (1999); 10 minutes
Violin and piano. For Bayla Keyes and Lois Shapiro.
C.F. Peters, Edition 67943.
First performance:             Daniel Stepner, violin and Sally Pinkas, piano. Slosberg Recital Hall, Brandeis University, Waltham, MA, January 19, 2008.
Recording:                        Daniel Stepner, violin and Sally Pinkas, piano. Centaur CRC 3369.


ÉTUDES BOOK II (#11-#20, 1996-98); 35 minutes, for piano solo
Edition Peters 67829b. Recording of complete book on Bridge 9121 by Amy Dissanayake, piano. Recordings also of The Third, Man and Fourth of Habit by Marilyn Nonken on Albany Records, Troy 681.

Fourth of Habit (#20, on fourths, 1998); 2 minutes
For Geoffrey Burleson.
First performance:       Geoffrey Burleson, Brandeis University Contemporary Chamber Players, Slosberg Hall, Brandeis University, April 23, 1999.

Secondary Dominance (#19, on seconds, 1998); 2-1/2 minutes
First performance:       Geoffrey Burleson, Phantom Arts Ensemble , Slosberg Hall, Brandeis University, February 9, 2001.

Pitching From the Stretch (#18, on tenths, 1998); 3-1/2 minutes
First performance:       Geoffrey Burleson, Brandeis University, April 23, 1999.

Keine Kaskadenjagd Mehr (#17, on falling thirds and fourths, 1998); 2-1/2 minutes
First performance:       Jeanne Golan, Friends and Enemies of New Music, Greenwich House, New York City, April 30, 1999.

Ice Boogie (#16, on octave leaps, 1998); 2-1/2 minutes
For Steven Weigt.
First performance:       Steven Weigt, Slosberg Hall, Brandeis University, May 2, 1998.

The Third, Man (#15, on thirds, 1997); 2 minutes
First performance:       Steven Weigt, Slosberg Hall, Brandeis University, May 2, 1998.

Martler (#14, crossing hands étude, 1997); 3 minutes
First performance:       Marilyn Nonken, Krannert Center, Champaign-Urbana, Illinois, October 16, 1997.
Recording:                  Marilyn Nonken, CRI CD 820.

Plucking A (#13, for inside the piano, 1997); 3 minutes
For Marilyn Nonken.
First performance:       Amy Dissanayake, Barnett Foundation, Chicago, January 20, 2002.

Plucking A (#13a, for inside the piano, 1997, 2002); 3 minutes
Arrangement for Steinway ‘D’ piano made for Amy Dissanayake.
First performance:       Amy Dissanayake, A.J. Fletcher Recital Hall, Eastern Carolina University, Greenville, North Carolina, March 2, 2002.

Northpaw (#12, for right hand, 1996); 2-1/2 minutes
For Lyn Reyna.
First performance:       Steven Weigt, Slosberg Hall, Brandeis University, May 2, 1998.

Touch Typing (#11, for index fingers only, 1996); 2-1/2 minutes.
First performance:       Amy Dissanayake, Barnett Foundation, Chicago, January 20, 2002.

Rowell Come Back Now (1997, 98); 18 minutes
Nine pieces for electric violin; for Mary Rowell. Five written in 1997, four in 1998.
First performance:             Mary Rowell (first five pieces), ModernWorks!, Sylvia and Danny Kaye Playhouse, New York, March 16, 1998.
C.F. Peters, Edition 67844.

The Squeaky Wheel (1998); 2 minutes
Solo Ef clarinet. For Beth Wiemann.
First performance:             Beth Wiemann, July, 1998, University of Maine.

Weather Jazz (1995, 1998); 3-1/2 minutes
Medium or high voice and piano; originally for voice and Pierrot ensemble.
First performance:             Friends and Enemies of New Music, Greenwich House, NYC, March 27, 2000.
C.F. Peters, Edition 67712a.

La Roba (1998); 13 minutes. Withdrawn.
Fl/picc, cl/bcl, piano, vln, 'cello. Commissioned by Earplay
First performance:             Earplay, January 25, 1999, Yerba Buena Center, San Francisco.

Dances in the Dark (1996, 98); 14 minutes
Fl/picc, cl/bcl, perc, piano, vln, 'cello. Four dances from Boy in the Dark.
First performance:             New York New Music Ensemble, Cooper Union, New York City, October 27, 2000.
C.F. Peters, Edition 67748a.

Felspimal (1997); 9 minutes
Clarinet, 'cello and piano. Commissioned by Sara Doniach for high school students in Palo Alto.
First performance:             Three high school students (Alek Felstiner, Sara Spieth, and Joseph Malone), Palo Alto, May 16, 1998.

Take Jazz Chords, Make Strange (1997); 12 minutes
Bf clarinet and string quartet. For the Lydian Quartet and the 50th anniversary of Brandeis University.
First performance:             Beth Wiemann and the Lydian Quartet, Brandeis, April 17, 1999.
C.F. Peters, Edition 67823.

Persistent Memory (1996-97); 21-1/2 minutes
Chamber orchestra (10 winds and 16 strings).
Commissioned by the Mary Flagler Cary Charitable Trust for the Orpheus Chamber Orchestra. In memory of Lily Auchincloss.
First performance:             Orpheus Chamber Orchestra, Carnegie Hall, March 7, 1998.
Recording:                        Boston Modern Orchestra Project, BMOP/sound 1009.
C.F. Peters, Edition 67862.
Selected for inclusion in the collection of the Barr Institute for American Composition Studies.
Pulitzer Prize finalist, 1999.

Elegy (1996-97); 10 minutes
Chamber orchestra (10 winds and 16 strings).
The first movement of Persistent Memory, which may be performed separately.
First performance:             Orpheus Chamber Orchestra, Carnegie Hall, March 7, 1998.
(C.F. Peters, Edition 67862).

Attitude Problem (1996-97); 15 minutes
Piano trio. Commissioned by The Triple Helix.
First performance:             The Triple Helix, Tsai Performance Center, Boston University, March 7, 1997. Revised version premiered at Brandeis University, November 7, 1997.
Recording:                        The Triple Helix, CRI CD 820.
C.F. Peters, Edition 67776.

Boy in the Dark (1996); 18 minutes
Three or more child dancers, children's chorus, flute/piccolo, clarinet/bass clarinet, percussion, piano, violin, cello. Commissioned by Boston Musica Viva. Story and words by Lola Haskins.
First performance:             Boston Musica Viva, the New England Conservatory Children's Chorus, and dancers from Boston Dance Collective, Tsai Performance Center, Boston, April 20, 1997.
C.F. Peters, Edition 67748.

Tight Fit (1996); 4-1/2 minutes
'Cello and piano. For Rhonda Rider and Lois Shapiro.
First performance:             John Whitfield and James Winn, Christ & St. Stephens Church, New York City, March 19, 1999.
C.F. Peters, Edition 67732.

ÉTUDES BOOK I (#1-#10, 1988-96); 40 minutes, for piano solo
Edition Peters 67829a
Recording of complete book by Amy Dissanayake on Bridge Records 9157.

Corrente (#10, on left-hand running notes, 1996); 2-1/2 minutes
First performance:       Marilyn Nonken, Krannert Center, Champaign-Urbana, Illinois, October 16, 1997.
Recording:                  Marilyn Nonken, CRI CD 820.

Pollici e Mignolli, or, The Virus That Ate New York (#9, for thumbs and pinkies only, 1995); 2-1/2 minutes
First performance:       Stephen Gutman, Sutton House, London, England, February 12, 1999.
American premiere:     Amy Dissanayake, Slosberg Hall, Brandeis University, March 15, 2003.


Close Enough for Jazz (#8, ostinato étude, 1995); 3 minutes
For Sandra Sprecher.
First performance:       Sandra Sprecher, American Academy in Rome, June 18, 1996.
American premiere:     Steven Weigt, Slosberg Hall, Brandeis University, May 2, 1998.
Recording:                  Teresa McCollough, Innova 552.

Les Arbres Embués (#7, on melody with thick chords, 1995); 6 minutes
For Martin Butler.
First performance:       Marilyn Nonken, Krannert Center, Champaign-Urbana, Illinois, October 16, 1997.
Recording:                  Marilyn Nonken, CRI CD 820.

Mano à Mano (#6, on alternating hands 1995); 3 minutes
For Lisa Moore.
First performance:       Sandra Sprecher, American Academy in Rome, June 18, 1996.
American premiere:     Steven Weigt, Slosberg Hall, Brandeis University, May 2, 1998.

Figure Eight (#5, on octaves, 1994); 3 minutes
First performance:       January 26, 1998, Geoffrey Burleson, on a Phantom Arts Ensemble concert. Killian Hall, MIT, Cambridge, MA.

Trillage (#4, on trills, 1993); 4 minutes
For Alan Feinberg.
First performance:       Steven Weigt, Slosberg Hall, Brandeis University, May 2, 1998.

Nocturnal (#3, on slow repeated notes, 1992); 3 minutes
For Lyn Reyna.
First Performance:       Lyn Reyna, San Jose, California, April 5, 1992.
Recording:                  Teresa McCollough, Innova 552.

BAM! (#2, on swirls of notes, 1991); 4 minutes .
For Karen Harvey.
First Performance:       January 20, 1992, by Karen Harvey on Griffin Music Ensemble concert, Wang Center for the Performing Arts, Boston.
Recordings:                 Marilyn Nonken, CRI CD 820.
                                 Teresa McCollough, Innova 552.

E-Machines (#1, on fast repeated notes 1988); 3 minutes
For Martin Butler.
First Performance:       Lyn Reyna, Alea II, Stanford University, March 7, 1989.
Other recordings:         Marilyn Nonken, CRI CD 820.
                                 Stephen Gosling, American Modern Recordings/Lumiere Records.

Sesso e Violenza (1995-96); 23 minutes
Two flutes (doubling alto flute and piccolo), piano, percussion, vln, vla, vc.
Commissioned by the Koussevitzky Music Foundation and Ensemble 21.
First performance:             Tara O'Connor and David Fedele, flutes; Peter Jarvis, conductor. Ensemble 21, Merkin Concert Hall, New York City, March 11, 1997.
Recording:                        Ensemble 21, personnel above, CRI CD 820 (now New World).
C.F. Peters, Edition 67734.

The Burning Woman Revisited (1996); 9 minutes
Four songs for soprano and clarinet. Poetry by Joseph Duemer.
First performance:             Susan Narucki, soprano; Beth Wiemann, clarinet. American Academy in Rome, June 13, 1996.
American premiere:           Susan Narucki, soprano; Beth Wiemann, clarinet. Salisbury State University, February 16, 1997.
C.F. Peters, Edition 67711.

No Holds Barred (1994-95); 30 minutes
Concerto for cello and chamber orchestra of fifteen players.
First performance:             Fred Sherry, cello; Eric Grunin, conductor. Crosstown Ensemble, New York City, February 23, 1996.
C.F. Peters, Edition 67682.

Nothing But the Wind (1995); 15 minutes
Five songs on "wind" poetry for soprano and orchestra. Four are orchestrations of songs in Silently, a Wind Goes Over. Poetry by Joseph Duemer, Wallace Stevens, April Bernard, and Robert Louis Stevenson. The fifth is a newer piece on a poem by Joseph Duemer.
C.F. Peters, Edition 67709.

Weather Jazz (1995); 3-1/2 minutes
Medium or high voice, flute, clarinet, piano, violin and cello. Poem by Joseph Duemer.
C.F. Peters, Edition 67712.

Two Can Play That Game (1995); 4 minutes
Bass clarinet and marimba. For Peter Josheff.
C.F. Peters, Edition 67710.

Mento (1995); 6 minutes (sequel and companion to Diverti: three pieces (Où, Wo, Dove) that may be performed together, apart, or combined with movements of Diverti)
Bf clarinet and piano.
First performance:             Beth Wiemann, clarinet, and Sandra Sprecher, piano, November 5, 1995, Salisbury, Maryland.
Recording:                        Beth Wiemann, clarinet, and Christopher Oldfather, piano. Albany Records, Troy 681.
C.F. Edition Peters 67650.

Piano Trio #2 (1993, 94); 8 minutes
Commission by Sarah Doniach of Palo Alto, California, for her students. First two (of three) movements premiered by students aged 13-16, August, 1994 in Palo Alto.

The Burning Woman & The Physics of Witches (1995); 7 minutes
Mezzo-soprano, clarinet and piano. Commissioned by Opus 90.
Three songs on poems by Joseph Duemer that were written for this piece.
First performance:             Opus 90, Palo Alto, California, November 23, 1996.
C.F. Peters Edition 67647.

Silently, A Wind Goes Over (1994, revised 1996); 13 minutes
Five songs on "wind" poetry for soprano and piano. For Susan Narucki.
Poetry by Joseph Duemer, Wallace Stevens, April Bernard, and Robert Louis Stevenson.
First performance:             Susan Narucki, soprano and Betty Woo, piano, Festival of New American Music, Sacramento, California, November 3, 1995.
First performance of           Yu-Hui Chang, soprano and Mary Farbood, piano, Slosberg Hall,
revised version:                  Brandeis University, May 8, 1999.
Recording:                        Susan Narucki and Alan Feinberg, Americus Records AMR 20031020 (of Windy Nights, the fourth song of the set)
Recording:                        Susan Narucki and Donald Berman, forthcoming on Bridge Records (of For Wittgenstein, the fifth song of the set)
C.F. Peters Edition 67616.

Firecat (1993); 13 minutes
Flute and piano.
First performance:             January 26, 1994, Margaret Swinchoski and Ron Levy, Weill Recital Hall, New York City, January, 1994.
C.F. Peters Edition 67589.

A Loose Gathering of Words (1993); 14 minutes
Soprano, clarinet, bass clarinet, viola, cello, bass. Commissioned by the Composers Ensemble. Four songs on texts by Louise Bogan, Wallace Stevens, Joseph Duemer and Tom Chandler.
First performance:             Mary Wiegold, soprano; The Composers Ensemble, conducted by Joel Sachs, at the Dartington Festival, Dartington, England, August 16, 1994.
American premiere:           Cheryl Marshall, soprano; Empyrean Ensemble, Ross Bauer, conductor: January 22, 1995.
C.F. Peters Edition 67587.

Hyperblue (1991-93); 13 minutes
Piano trio, Fromm Foundation commission. For Itzkoff-Rider-Shapiro trio of Boston.
First performance:             Itzkoff-Shapiro-Rider Trio, March 26, 1993, Boston College.
Recording:                        The Triple Helix, CRI CD 820.
C.F. Peters Edition 67541.

Cerberus (triple clarinet concerto, 1991-92); 23 minutes
Bf clarinet doubling on Bf bass clarinet and chamber orchestra of 13 players (cl, bcl, fl, ob, tpt, hn, perc, pno, string quartet, bass).
First Performance:             May 10-11, 1992, UC Berkeley and UC Davis by the Empyrean Ensemble, Ross Bauer, conductor, and Beth Wiemann, soloist:
First Performance of          August 9, 1992 at Wellesley Composers Conference, Eric Thomas,
revised version:                  soloist, Efrain Guigui, conductor.
Recording:                        Empyrean Ensemble, Beth Wiemann soloist, Ross Bauer, conductor. Albany Records Troy 681.
C.F. Peters Edition 67515.

Winged Contraption (1991); 9 minutes.
Orchestra. Perpetual motion piece for Martin Boykan’s 60th birthday.
First Performance:             January 20, 2007, Boston Modern Orchestra Project, Gil Rose, conductor. Jordan Hall, Boston.
Recording:                        Boston Modern Orchestra Project, BMOP/sound, 1009.
C. F. Peters Edition 67618 (rental).

Symphony #1 (1990-91); 29 minutes.
Orchestra and high soprano. Commissioned by the Riverside Symphony, New York City. Five movements, including two settings of poems by e.e. cummings and a setting of a poem by Louise Bogan. For Milton Babbitt at 75.
First Performance:             January 17, 1993, Riverside Symphony, Susan Narucki, soprano soloist, George Rothman, conductor. Miller Theater, New York City.
C.F. Peters Edition 67543 (rental).

Diverti (1991); 5 minutes.
Clarinet and piano. Three pieces (Pourquoi, Warum, Per Che) that may be performed separately. For Beth Wiemann, and composed on the motto B-E-F-F.
First Performance:             April, 1991, Spencer, MA (Per Che). First complete performance by Beth Wiemann and Karen Harvey with Griffin Music Ensemble, Feb. 2 1994.
C.F. Peters Edition 67542.

Three Encores (1991); 9 minutes.
Vocal Ease, Scatter, Vocal Angst. For voice and piano. Two vocalises and a ‘scat’ piece.
First Performance:             Vocal Ease and Vocal Angst at New Mexico Composers Forum, March, 1992. Scatter at the Institute for Advanced Study, Princeton, December 3, 2004.
Recording:                        Judith Bettina, soprano. James Goldsworthy, piano. Bridge Records 9199.
C.F. Peters Edition 67617.

Our Story (1991); 4 to 12 minutes.
A commission from the Wang Center for the Performing Arts Young at Arts program. For violin and vibraphone, bells, nger cymbals, and wind chimes, all played by children. Organized into separate panels and ordered by the children.
First Performance:             May, 1991, New England Conservatory, with students in Project STEP.

Crackling Fire (1990); 5 minutes.
Piano four hands.
Commissioned by Goldsworthy-Doniach Duo, Palo Alto, California.
First Performance:             March 9, 1991, Stanford University.

Musician (1990, 90); 3 minutes; text by Louise Bogan
Soprano, violin, piano. Arranged from one of the Six Bogan Poems.
First Performance:             Judith Bettina, James Goldsworthy, Curtis Macomber. Gill Memorial Chapel, Rider University, Lawrenceville, NJ, March 25, 2007.
Recording:                        Judith Bettina, soprano. Curtis Macomber, violin. James Goldsworthy, piano. Bridge Records 9199.
C.F. Peters Edition 67453a.

Six Bogan Poems (1990); 15 minutes; texts by Louise Bogan
Soprano, string orchestra, harp, celesta.
C.F. Peters Edition 67453 (rental).

Domino Effect (1989); 11 minutes; commission from Alea III. Withdrawn.
Flute, clarinet, oboe, harp, percussion, piano, violin, viola, 'cello, bass.
First Performance:             Alea III, Boston, MA, March 24, 1990, conducted by Theodore Antoniou.

Double String Ceremony (1989); 1 minute
String quartet.
First Performance:             Berkeley, California, March 31, 1990 at Ross Bauer's wedding.

Nine Recital Pieces (1989); 10 minutes; commissioned by the Nueva Learning Center, Hillsborough, California.
Solo pieces written for beginning piano students with accompaniment by instructor. These plus additional pieces composed later are in wide use by piano teachers in the San Francisco area and in the northern midwest.
First Performance:             5- to 7-year old students at Nueva Learning Center, February 20, 1990.

Fan-Fair (1989; written with Beth Wiemann); 2 minutes
Brass quintet: commissioned by the Wang Center for the Performing Arts to open ARTSMART 1989.
First performance:             Bay State Brass Quintet, September 9, 1989.

Three Songs on Poems of Louise Bogan (1989); 7 minutes
Soprano, piano.
First Performance:             Judith Bettina and James Goldsworthy, Stanford University, February 18, 1990.
Recordings:                       Judith Bettina and James Goldsworthy, CRI CD 820.
                                       Susan Narucki and Alan Feinberg, Americus Records AMR 20031020 (third song of the set only)
C.F. Peters Edition 67381.

Terra Firma (1988); 11 minutes; commission from Alea II.
Flute, clarinet, piano, violin, violoncello.
First Performance:             Alea II, Stanford University, May 24, 1988.

Slange (1984, 1987); 14 minutes; commissioned by Parnassus.
Clarinet, Bass Clarinet, Horn, Piano, Violin, Viola, Violoncello, Bass.
First Performance:             Empyrean Ensemble, Davis, California, December 6, 1988. (new version)
First Performance:             Parnassus, New York City, October 29, 1984. (old version)
C.F. Peters Edition 67099.

Imaginary Dances (1986); 16 minutes; commissioned by Speculum Musicæ.
Flute/alto flute, clarinet/bass clarinet, oboe/English horn, percussion, piano, violin, viola, violoncello.
First Performance:             Speculum Musicae, March 9, 1987, Miller Theater, New York City.
Recording:                        Speculum Musicæ conducted by Donald Palma, CRI CD 617.
C.F. Peters Edition 67382.

Overderive (1985); 6 minutes; for the Brandeis University Jazz Ensemble.
4 trumpets, 5 saxophones, 4 trombones, piano, guitar, bass guitar, drums. 12-tone funk.
First Performance:             Brandeis Jazz Ensemble, Waltham, MA, March, 1985.

Elegy (1979, 1982, 1984); 5 minutes
String Orchestra
First Performance:             Cathedral Concert Orchestra of Newark, Newark, NJ, March 1984, Michael Pratt, conductor.

Elegy (1979, 1982); 5 minutes
String Quartet (movement from String Quartet No. 3, never completed)
First Performance:             Atlantic String Quartet, Princeton, NJ, May 1982.

Concerto for Violin and Chamber Orchestra (1982-1983); 27 minutes
Solo violin; flute/alto flute, clarinet/bass clarinet, oboe/English horn, bassoon, trumpet, horn, trombone, 2 percussion, piano, 3 violins, 2 violas, 2 violoncellos, bass.
Semifinalist in 1992 Friedheim Awards; BMI award winner, 1983.
Performances:                   Gerald Itzkoff, soloist; Griffin Music Ensemble, Boston, MA, October 16, 1990 (first complete performance); conducted by Stephen Mosko.
                                       Rolf Schulte, soloist; Composers Conference at Wellesley, Wellesley, MA, August, 1983. (1st and 3rd movements).
                                       Russell Hershow, soloist: Tanglewood Fellowship players, Lenox, MA, August, 1982 (3rd movement only).
C.F. Peters Edition 67454 (rental).

Duo (1979, 1981); 9 minutes; commissioned by Ken Sugita. To Milton Babbitt at 65.
Violin and Piano.
First Performance:             Gerald Itzkoff, violin, and Karen Harvey, piano; Griffin Music Ensemble, Pickman Hall, Cambridge, MA, March 17, 1988.
C.F. Peters Edition 67267.

Five Bagatelles (1980); 8 minutes. String quartet.
First Performance:             Atlantic String Quartet, Princeton University, May, 1981.

A Refusal to Mourn… (1979); 8 minutes. Poem by Dylan Thomas.
Baritone, flute, clarinet/bass clarinet, viola, 'cello, harpsichord, piano, offstage horn.
First Performance:             Robert Hancock, baritone, John Simon, conductor. Jordan Hall, New England Conservatory, February 16, 1980.
Selected for performance at New England Conservatory Commencement, May 18, 1980.

A Fanfare (1978); 1-1/2 minutes. For the New England Conservatory Trombone Ensemble.
24 trombones.
First Performance:             New England Conservatory Trombone Ensemble, Jordan Hall, New England Conservatory, March 12, 1979.
Broadcast live on Eastern Public Radio.

Sonnet 22 (1976); 3 minutes. SATB choir with soprano and alto solos.
First Performance:             Brandeis University Chamber Choir, Slosberg Hall, Brandeis University, April 30, 2008.


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