List of Compositions by Year
Most scores available through this website (free download); also, see list of scores by instrumentation.
Several scores available through Smith Publications/Sonic Art Editions (www.smith-publications.com)
1969
Sonata for Piano (piano solo); ca. 7’. (withdrawn)
Water, text - Robert Lowell ( soprano, violin, piano); ca. 4’ (withdrawn).
1970
Media Luna (soprano, 3 Bb cl., vln. vla. vcl.), texts- F. G. Lorca; ca. 6. (withdrawn).
Opus 7 (four instrumentalists and live electronics); indeterminate duration (withdrawn).
Opus 8 (live electronic installation); indeterminate duration (withdrawn).
Tracings (piano and live electronics); ca. 12-18’ (withdrawn).
1971
Sonata for piano (on one note); ca. 5'.
The River Merchant’s Wife (2 vln., vla., vcl.); ca. 5'.
String Quartet; ca. 4’.
Dance Space (dancer and live electronics); indeterminate duration (withdrawn).
Threshold Spaces (live electronics); indeterminate duration (withdrawn).
1972
A Draft of Shadows, texts - Octavio Paz (soprano, piano, 3 perc); ca. 9'.
Cassandra (chorus SATB, vcl., perc.) text-Robinson Jeffers; ca. 13'.
Chamber Symphony No. 1 (ob., Bb cl. Bb bass cl., 2 Bb tpts., 6 vln, 2 vla., 2 vcl.); ca. 2 ½’.
Chamber Symphony No. 2 (fl., Bb cl., sop sax., hn., C tpt., 4 vln., 4 vla., 4 vcl.); ca. 1 ½’.
1973
Gestures (soprano sax., piano); ca. 8' (unavailable).
Traces (fl., Bb cl., alto sax., vln, vla vcl., piano); ca. 9'.
Marginal Developments (piano solo); ca. 9'
1974
Serenade (piano solo); ca. 9'
The Circular Gates (fl., Bb cl., baritone sax., bsn., vln., vcl., pno., speaker (male)); ca. 3 ½’.
1977
I-VI (ob., Bb cl., alto sax., Bb tpt., 2 Bass cl., 2 bsn.); two sets; ca. 3' per set.
4 Series/I,II,III,IV (3 Bb cl., 2 vln., 2 vcl.); ca. 3' per series.
1978
(untitled) installation; Brown University, Providence, RI. (no documentation)
1979
(untitled) installation; Brown University, Providence, RI. (no documentation)
Four (8-79) (3 Bb cl., soprano sax., alto sax., tenor sax., 4 vln., 2 vla.); three sets, ca. 3’, per set.
1980
Five (6-80) (2 Bb cl., Bb Bass cl., soprano sax., alto sax., tenor sax., 6 vln.); ca. 4'.
Five (8-80) (10 vln., 4 vla., 4 vcl.); 5 sets, ca. 4' per set.
1981
Six (1-81) (Bb cl./Bb bass cl., Bb tpt., 6 vln.); two sets, ca. 4' per set.
Six Variants I (2 fl., alto fl., 3 Bb cl., 12 vln., 2 vla.); eight sets, ca. 3' per set.
Partial Manifolds (wind ensemble, spread throughout the concert hall), duration variable (withdrawn).
Partial Conjunctions (wind ensemble, spread throughout the concert hall), duration variable (withdrawn).
1982
Four Variants (4 vls., 4 vla., 4 vcl.); three sets, ca. 2' per set.
Five Variants I (2 fl., alto fl., 3 Bb cl., 6 vln.); three sets, ca. 3' per set.
Six (4-82) (6 vln., 4 vla., 2 vcl.); three sets, ca. 4' per set.
Four (9-82) (3 Bb cl., 4 vln., 2 vla.); ca. 2'.
1983
Sequence (piano solo); ca. 8'.
Text (piano solo); ca. 8'.
(untitled) installation; Corcoran Gallery, Washington, DC. (documentation available).
(untitled) installation; Kornblatt Gallery, Washington, DC. (documentation available).
(untitled) installation; UMBC Art Gallery, Baltimore, MD. (documentation available).
Six (1-83) (3 Bb cl., 4 vln., 2 vla.); ca. 4'.
1984
4 (6 vln.); ca. 2'.
3 (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 1'.
Six Variants II (2 fl., alto fl., 3 Bb cl, 4 vln., 4 vla., 4 vcl.); six sets, ca. 3' per set.
(untitled) installation; Baltimore Museum of Art Baltimore, MD. (documentation available).
(untitled) installation, proposal; UMCP Art Gallery, College Park, MD. (documentation available).
1985
(untitled) installation; Strathmore Hall, Rockville, MD. (documentation available).
(untitled) installation, proposal; Boston University, Boston, MA. (documentation available).
Three (5-85) (2 vln., 2 vla., 2 vcl.); ca. 1'.
Five (7-85) (Bb cl., 6 vln.); ca. 2'.
Five Variants II (2 fl., alto fl., 3 Bb cl., 2 vln., 2 vla., 2 vcl.); three sets, ca. 3' per set.
Five Variants III (6 vln., 6 vla. 6 vcl.); three sets, ca. 3' per set.
1986
Against the silence... (perc. ensemble, piano, 4-channel electroacoustic sound); ca. 20'.
Four (5-86) (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
Four (6-86) (3 Bb cl., sop.sax., alto sax., ten.sax., 2 vln., 2 vla., 2 vcl.); three sets, ca. 3' per set.
Six (7-86) (Bb cl., Bb tpt., 2 vln., 2 vla., 2 vcl.); three sets, ca. 4' per set.
Four (9-86) (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 2'.
Five (11-86) (3Bb cl., 4 vln., 2 vla.); ca. 3'
Five (12-86) (3 Bb cl., 2 vla.); ca. 2'.
1987
Five (1-87) (3 Bb cl., oboe, 2 vla.); ca. 2'.
Five (2-87) (3 Bb cl., 2 vla.); ca. 5'.
contrecoup... (soprano, fl., piano, perc.), text- Stéphane Mallarmé; ca. 9 1/2'.
Transparent Wave (snare drum solo); ca. 2’ Smith Publications.
Five (6-87) (fl., ob., 3 Bb cl.); ca. 2'.
Five (7-87) (fl., 3 Bb cl., 2 vln.); ca. 2'.
Four (8-87) (2 vln., 2 vla., 2 vcl.); ca. 2'.
Five (8-87) (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
Five (11-87) (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
Five (12-87) (3 Bb cl., Bb tpt., 2 vln., 2 vla., 2 vcl.); ca. 3'.
1988
Five (1-88) (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 2'.
Five (2-88) (3 Bb cl., 4 vln.); ca. 3'.
Five (3-88) (Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 2'.
Five (5-88) (3 Bb cl., 2 Bb tpt., tbn.); ca. 4'.
Six (5-88) (3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 4'.
Five (6-88) (ob., 3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
At Briggflatts meetinghouse (soprano, piano), text - Basil Bunting; ca. 7' Smith Publications.
the root, the sap (soprano, piano), text – Basil Bunting; ca. 13’.
1989
One (6-89) (ob., 3 Bb cl., Bb tpt., 2 vla., 2 vcl.); ca. 2'.
1990
Bright seaweed reaping (soprano, 3 Bb cl., piano, 2 perc.), text- Cid Corman; ca. 4'.
Two Songs (soprano, 3 Bb cl., 2 perc., piano, harp), texts- Cid Corman; ca. 10' (withdrawn).
anti-paysage (fl., piano, perc., two-channel electroacoustic sound); ca. 10'.
1991
Of (two-channel electroacoustic sound); ca. 3'
for (fl., ob., Bb cl., vln., piano, perc.); ca. 2 ¾’.
between (fl., 3 perc.); ca. 3'.
1992
Equinox (6 voices, 2 dancers, 4 perc.) text – William Bronk; ca. 4'.
as again (two-channel electroacoustic sound); ca. 6'
as so (two-channel electroacoustic sound); ca. 6'.
so on (two-channel electroacoustic sound); ca. 2'
not (piano, perc.); ca. 6' Smith Publications.
1993
Though (piano solo); ca. 5' Smith Publications.
Five (1-93) (fl., ob., 3 Bb cl., 2 vln., 2 vla., 2 vcl.); ca. 3'.
Transparent Wave II (piano solo); ca. 1'.
1994
so again (two-channel electroacoustic sound); ca. 2'
on again (two-channel electroacoustic sound); ca. 3'
of again (two-channel electroacoustic sound); ca. 4'
Pine, Bamboo, Plum (two-channel electroacoustic sound); ca. 2'.
as though (percussion solo); ca. 2'.
1995
“because the... (two-channel electroacoustic sound); ca. 2'.
as though, again (fl., Bb cl., vln., perc., (one player)); ca. 2'.
as though, so again (fl., Bb cl., C tpt., vln., vcl., piano, perc.); ca. 2'.
1996
to make / -as / in- (two-channel electroacoustic sound) text – Leslie Scalapino; ca. 5'.
que cela se puisse (fl., Bb cl., vln., cb., piano) text- Stéphane Mallarmé; ca. 1' (withdrawn).
or (ob., 2 Bb cl., C tpt., vln., vcl., 1 perc.); ca. 2'.
1997
think on parch (two-channel electroacoustic sound) text – P. Inman; ca. 19'.
though, on (two-channel electroacoustic sound); ca.2'.
plin,h (two-channel electroacoustic sound); ca. 1 3/4'.
plin,x (two-channel electroacoustic sound); ca . 1'.
m,nce (two-channel electroacoustic sound); ca. 2'.
as in (string orchestra); ca 2 ½’.
1998
n,mcr (two-channel electroacoustic sound); ca. 1'.
nna,c (two-channel electroacoustic sound); ca. 1'.
“decker” (two-channel electroacoustic sound) text – P. Inman; ca. 9'.
n,c (two-channel electroacoustic sound); ca. 1'.
1999
x,e (two-channel electroacoustic sound); ca. 2'.
inc,e (two-channel electroacoustic sound); ca. 1'.
Transparent Wave III (soprano solo) text- A. R. Ammons; ca. 2'.
Center (soprano solo) texts - A. R. Ammons; ca. 8’.
as though / of (two-channel electroacoustic sound); ca. 5'.
2000
qu,m (two-channel electroacoustic sound); ca. 2'.
qu,r (two-channel electroacoustic sound); ca. 2'.
z,rb (two-channel electroacoustic sound); ca. 2'.
Center / s (two-channel electroacoustic sound); ca. 4'.
Transparent Wave IV (marimba solo); ca. 2' Smith Publications.
Transparent Wave V (cello solo); ca. 4'.
2001
ce,lf (two-channel electroacoustic sound); ca. 1'.
cel,f, (two-channel electroacoustic sound); ca. 1'.
,c,el,f (two-channel electroacoustic sound); ca. 1'.
2002
amounts. to., text - P. Inman; three versions:
1) amounts. to. (installation version; score and three stereo .wav files); plays continuously over several days.
2) amounts. to. (CD version; stereo .wav file); ca. 17’.
3) amounts. to. (concert version; four mono .wav files); ca. 30’.
2003
so, between (fl., Bb cl., vcl., piano, perc.); ca. 2'.
Belle-Isle I-IV (two-channel electroacoustic sound); ca. 7'.
wave / s (percussion solo), based on Transparent Wave IV; ca. 4'.
Transparent Wave VI (vibraphone solo); ca. 2'.
2004
e/ede (3 Bb cl., ob., bsn., C tpt., piano, vln., vla., vcl.); ca. 3'.
e,nm (fl., cl., vln., vcl., perc.); ca. 2'.
Iol (piccolo, Bb cl. Eng. Hn., Bb tpt., 2 vln., 2 vla.); ca. 2'.
Ilil (4 vln., 4 vcl.); ca. 2'.
alomn (Bb cl., 2 vln., 2 vla.); ca. 2'.
Zilahn (two-channel electroacoustic sound); ca. 3'.
2005
IV-VIII (Bb clarinet and string quartet); 2 ½’.
qu’un espace / sépare (soprano solo, percussion ensemble); ca. 5 ½’.
mn, s (fl., cello); 1 ¾’.
Song: “Foxrock near Dublin…” (electroacoustic sound, 5.0 surround), text – P. Inman; 8’.
2006
onnh I (fl., Bb cl. doubling bass cl., vln., vcl., piano, perc.); 2’.
onnh II (fl., ob., Bb cl. doubling bass cl., vln., vla., vcl., piano, perc.); 2’.
transients / waves (percussion solo), based on Transparent Wave VI; 4’.
transients / images (percussion, piano), based on Transparent Wave VI; 5 ½’.
transients / resonances (fl., Bb cl., vln., vcl., perc., piano), based on Transparent Wave VI; 5 ½’.
XV-XXI (3 Bb cl. vln., vcl., perc.); ca. 3 ½’.
XI-XV (Bb bass cl., Bb tpt., vln, vla., vcl.); ca. 2 ½’.
XIII-XVII (ob., Bb cl., Bb bass cl., C tpt., vln., vla., perc.); ca. 2 ¼’.
2007
Transparent Wave VII (saxophone solo); ca. 1 ¾’.
Transparent Wave VIII (percussion solo); ca. 1 ¼’.
…zwischen den Worten (electroacoustic sound, 5.0 surround, also available in stereo), texts – Paul Celan; ca. 8 ½’.
- en / l’espace de… (XXVI-XXX) (soprano and chamber orchestra); ca. 2 ¼’.
XXIII-XXVII (two-channel electroacoustic sound); ca. 3’17”.
2008
ylm, n (XX-XXV) (ob., 3 Bb cl./1 doubling bass cl., soprano sax., alto sax., vln., vla.); ca. 3’.
cs, s (XIV-XVII) (ob., Bb cl., vln., vla.); ca. 1 ¾’.
sc, s (X-XIII) (ob., Bb. Cl., soprano sax., vln., vla.); ca. 1 ¾’.
lymn (XXX- XXXIV) (fl., ob., Bb cl., bsn., 2 vln., vla., vcl.); ca. 1 ½’.
XXXII- XXXVI (fl., ob., Bb cl., bsn., 2 vln., vla., vcl.); ca. 1 ½’.
Sakuteiki (XXII-XXIV) (two-channel electroacoustic sound); ca. 6’
2009
Five Pieces for Piano (piano solo): ca. 4’.
for string orchestra (10 vln., vla., vcl.): ca. 1 ¾’.
folium (Bb cl., ob., soprano sax., 10 vln., vla., vcl.); ca. 5’.
…that light (soprano solo); texts Cid Corman; ca. 6’.
Trio (vln, vcl, piano); ca. 8’.
Five Pieces for Clarinet and Percussion (Bb cl., perc.-1 player); ca 4’ (withdrawn).
Five Pieces for Cello and Percussion (vcl.., perc.-1 player); ca 4’ (withdrawn).
2010
sam, text by P. Inman, three versions:
1) sam (installation version; 4 mono .wav files and multiple HDTV Widescreen TVs); plays continuously over several days.
2) sam (version for single HDTV Widescreen TV and stereo .wav file); ca. 17’.
3) sam (concert version; 5.0 surround); ca. 17'.
jeu de timbres (percussion solo); ca. 6'.
transients / interferences (fl. doubling picc. and bass fl., gtr., vln., perc. 1 player); ca. 5'.
2011
Quatre Petites Mélodies (1920), composed by Erik Satie (orchestrated by Thomas DeLio); 3'.
transients / refractions (orchestra); 5 1/2'.
et avant / image (flute solo, 9 perc.); ca. 7'. (also 6 perc. version)
et avant / image / aussi (fl., ob., Bb cl., alto sax., C tpt., tenor tbne., 9 perc.); ca. 7'.
…that light… (sop., fl., Bb cl., C tpt., vln., vcl, perc. (1 player)); texts Cid Corman; ca. 6’.
2012
…à l’autre, ainsi (piano, chamber orchestra); ca. 6 ¾’.
2013
…sound / shivering / silence (percussion solo); ca. 9’.
anti-paysage II (two-channel electroacoustic sound); ca. 7 ¾’.
aengus, text by P. Inman, three versions:
1) aengus (installation version; six mono .wav files); plays continuously over several days.
2) aengus (CD version; stereo .wav file); ca. 31 ½’.
3) aengus (concert and DVD version; 5.0 surround); ca. 31 ½’.
Song: “aengus” (two-channel electroacoustic sound), text P. Inman; ca. 5 ¼’.
2014
…sound / shivering / silence II (percussion quartet); ca. 12’.
après Belle-Isle (two-channel electroacoustic sound); ca. 2’.
Hörreste (Soundscrapes) (two-channel electroacoustic sound); ca. 4 ½’.
In Prag (In Prague) (two-channel electroacoustic sound); ca. 6 ¾’.
Sakuteiki (electroacoustic sound, 5.0 surround); ca. 6’.
Schaufäden (Sight Threads) (two-channel electroacoustic sound); ca. 3’.
Sichtbar (Visible) (two-channel electroacoustic sound); ca. 5’.
Vorflut (Outfall) (two-channel electroacoustic sound); ca. 1 ½’.
Weissgrau (Whitegray) (two-channel electroacoustic sound); ca. 4 ½’.
2015
…sound / shivering / silence III (percussion sextet); ca. 15’
Three Songs (soprano and orchestra); texts – Stéphane Mallarmé; ca. 5’
2016
et absence (violin solo and percussion ensemble); ca. 7’.
Spüren (Traces) (two-channel electroacoustic composition); ca 5’.
Trois Visages (flute, violin and soprano soloists and percussion ensemble; texts – Stéphane Mallarmé; ca. 21’.
2017
by parch reading (two-channel electroacoustic composition); ca. 7’.
limn (two-channel electroacoustic composition); ca. 3’.
Sherds (two-channel electroacoustic composition); ca 3’.
…klingend (piano solo); ca. 10’.
…klingend II (piano and percussion); ca. 10’.
2018
…klingend III (piano and chamber ensemble); ca. 10’.
String Quartet; ca. 8 ½’.
Transparent Wave IX (bass flute solo); ca. 2’20”.
Transparent Wave X (viola solo); ca. 2’11”.
inents (sound installation: ten-channel electroacoustic composition; speakers graduated in size and curved speaker stands also graduated in size); text by P. Inman; plays continuously over several days.
2019
from this condensery (solo soprano); texts – Lorine Neidecker; ca. 5 ½’.
Passages (flute doubling piccolo and bass flute and four percussionists); ca. 8’.
Passages II (flute doubling piccolo and bass flute, four percussionists and string trio); ca. 8’.
Ludions ((chamber orchestra); original by Erik Satie, 1923; orchestrated by Thomas DeLio); ca. 4’.
Diptych (two-channel electroacoustic composition) in two parts; part 1, 2’20”; part 2, 2’35”.
India, (two-channel electroacoustic composition) in three parts: Chennai, Jaipur and Kashi; each 5’.
Sinnfäden (two-channel electroacoustic composition) in seven parts; part 1, 1’41”; part 2, 2’00”; part 3, 1’31”; part 4, 2’17”; part 5, 1’16”; part 6. 3’36”; part 7, 1’56”.
2020
Tangier (two-channel electroacoustic composition); I, 2’10”; II, 2:10; III, 2:10; IV, 2:10.
from this condensery II (soprano and percussion quartet); texts - Lorine Neidecker; ca 9’.
Transparent Wave XI (Bb clarinet); 2’49.5”.
nishaan (two-channel electroacoustic composition); nishaan (May 2020), 3’20”; nishaan (July 2020), 50”; nishaan (October 2020), 1’31”.
2021
Transit (chamber ensemble); 8’30”.
alama (two-channel electroacoustic composition); alama (January, 2021 a), 47”; alama (January, 2021 b), 47”; alama (January, 2021 c), 47”.
dấu (two-channel electroacoustic composition); dấu (March, 2021) a, 1’30”; dấu (March, 2021) b, 1’30”.
işharet (two-channel electroacoustic composition); işharet (July, 2021), 2’20”; işharet (August, 2021), 2’41”.
and of of (two-channel electroacoustic composition); 10’30”.
Transparent Wave XII (Trumpet in C); 3’16”.
2022
anti-paysage III (chamber ensemble); 5’45”.
2023
a content_of echo (two-channel electroacoustic composition); 15’14”.
anti-paysage IV (two-channel electroacoustic composition); 10’01”.
…sound / shivering / silence IV (percussion sextet); 17’30”.