W O R K S

Triple Duo (1982–83)

Elliott Carter Collection, Paul Sacher Foundation Basel

ORCHESTRA

Adagio tenebroso (1994) ............................................................ 20’ (H)

3(II, III=picc).2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-timp.perc(4):BD/ 4bongos/glsp/4tpl.bl/cowbells/vib/2susp.cym/2tom-t/2wdbl/SD/xyl/ tam-t/marimba/wood drum/2metal block-pft-strings (also see Symphonia: sum fluxae pretium spei)

Allegro scorrevole (1996) ........................................................... 11’ (H)

2.picc.2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-perc(4):timp/glsp/xyl/vib/ 4bongos/SD/2tom-t/wdbl/3susp.cym/2cowbells/guiro/2metal blocks/ 4tpl.bl/BD/marimba-harp-pft-strings (also see Symphonia: sum fluxae pretium spei)

Anniversary (1989) ....................................................................... 6’ (H)

3(III=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(2):vib/marimba/xyl/ 3susp.cym-pft(=cel)-strings(16.14.12.10.8) (also see Three Occasions for Orchestra)

Boston Concerto (2002) .............................................................. 19’ (H)

3(II,III=picc).2.corA.3(III=bcl).3(III=dbn)-4.3.3.1-perc(3):I=xyl/vib/log dr/4bongos/high SD/susp.cym/wood chime; II=marimba/log dr/ 4tpl.bl/2cowbells/susp.cym; III=BD/tom-t/4wdbls/guiro/susp.cym/ maracas/med SD-harp-pft-strings

A Celebration of Some 100 x 150 Notes (1986) ....................... 3’ (H)

2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(1):glsp/vib-pft(=cel)- strings(16.14.12.10.8) (also see Three Occasions for Orchestra)

Concerto for Orchestra (1969) ................................................... 23’ (AMP)

3(II, II=picc).3(III=corA).3(II=bcl, III=Ebcl).3(III=dbn)-4.3(III=Dtpt).3.1- timp.6perc[+2]-harp-pft-strings(min:7.6.5.4.3 max:9.8.6.6.5)

Fons Juventatis (2004) ................................................................. 3’ (H)

1.2(II=picc).2.corA.2.bcl.3(III=dbn)-4.3.3.0-perc(3):I=xylorimba; II=guiro; III=small SD/maracas-harp-pft-strings (also see Three Illusions for Orchestra)

Holiday Overture (1944/61) ....................................................... 10’ (AMP)

3.3.3.3-4.3.3.1-timp.perc-pft-strings

Micomicón (2002) ......................................................................... 3’ (H) 2.picc.2.corA.1.bcl.dbcl.2.dbn-4.3.3.1-timp.perc(2):susp.cym/3tom-t/ BD/marimba/cyms/xyl-harp-pft-strings (also see Three Illusions for Orchestra)

The Minotaur (1947) ................................................................... 33’ (AMP)

2(II=picc).2(II=corA).2(II=bcl).2-4.2.2.0-timp.perc-pft-strings

The Minotaur, Suite from the Ballet (1947) ........................... 25’ (AMP) 2(II=picc).2(II=corA).2(II=bcl).2-4.2.2.0-timp.perc-pft-strings

More’s Utopia (2004) ................................................................... 3’ (H)

1.2picc.2.corA.2.dbcl.2.dbn-4.3.3.1-perc(3):I=log dr/tpl.bl/wdbls/lg slap stick/xylorimba; II=tam-t/gong/4susp.cym/vib; III=BD/tom-t- pft-strings (also see Three Illusions for Orchestra)

Partita (1993) ................................................................................ 17’ (H)

2(II=picc).picc(=fl).2.corA.2(II=Ebcl).bcl.2.dbn.-4.3.3.1- timp.perc(4):2metal bl/2cowbells/2susp.cym/2wdbl/4tpl.bl/wood dr/gavel/guiro/4bongos/2tom-t/SD/BD/glsp/vib/xyl/marimba-harp- pft-strings (also see Symphonia: sum fluxae pretium spei)

Pocahontas (1939) ........................................................................ 22’ (AMP)

3.2.2.2-4.3.3.1-4timp.perc-harp-pft-strings

Pocahontas, Suite from the Ballet (1939, rev. 61) .................. 20’ (AMP) 3.2.2.2-4.3.3.1-4timp.perc-harp-pft-strings

Remembrance (1988) ................................................................... 7’ (H)

In memory of Paul Fromm 1.2picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc:BD/glsp/vib-cel(=pft)- strings(min:16.14.12.10.8) (also see Three Occasions for Orchestra)

Soundings (2005) ......................................................................... 10’ (H)

2(=picc).picc.2.corA.2 (I=Ebcl,II=bcl).dbcl.2.dbn-4.3.3.1- timp.perc(2):I=xyl/tpl.bl/bongos/2susp.cym/cowbell/low conga drums/2 tom-t/BD; II=claves/4wdbl/2SD/2susp.cym/log dr/2 low tom- t-pft-strings

Symphonia: sum fluxae pretium spei (1993-96) ................... 47’ (H) I. Partita II. Adagio tenebroso III. Allegro scorrevole (may be performed separately) 3(II,III=picc).2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-timp.perc(4):I=xyl/ glsp/SC/2tom-t/susp.cym/timp/2wdbl/4bongos/cowbell; II=2metal blocks (very high & med high)/4tpl.bl/3susp.cym(high,med,low)/tom- t/2cowbells; III=vib/BD/4bongos/2tom-t(med & low)/2wood blocks/ SD/2susp.cym(med & low); IV=vib/glsp/marimba/tam-t/SD/ susp.cym/BD/2bongos/wood dr (log dr)/gavel/2tom-t-harp-pft-strings

Symphony No. 1 (1942, rev. 54) ................................................ 25’ (AMP)

2.2.2(Ebcl).2-2.2.1.0-timp-strings

A Symphony of Three Orchestras (1976) ............................... 17’ (AMP) Orch I: 0.0.0.0/3.2.2(II=btrbn).1-timp-strings(8.0.4.3.2); Orch II:0.0.2(II=bcl).Ebcl.0-0.0.0.0-perc:t.bells/vib/xyl/marimba/long drum with snares/low tom-t-strings(2.0.0.3.1); Orch III: 2(I, II=picc).picc.3(III=corA).0.3(III=dbn)-2.0.0.0-perc:anvil/ bell tree/2susp.cym/2SD/tamb/2tam-t-strings(8.0.4.0.2)

Three Illusions for Orchestra (2002-04) ................................... 9’ (H)

I. Micomicón II. Fons Juventatis III. More’s Utopia (may be performed separately) 3(II,III=picc).2.corA.2(II=bcl).bcl.dbcl.3(III=dbn)-4.3.3.1-timp- perc(3):I=susp.cym/4tom-t/BD/marimba/xylorimba/log dr/4 tpl.bl/ 4wdbl/lg slapstick; II=cyms/xyl/vibr/guiro/tam-t/nipple gong/ 4susp.cym/vib; III=cyms/xyl/vib/BD/4tom-t-harp-pft-strings

Three Occasions for Orchestra (1986-1989) ............................ 16’ (H)

I. A Celebration of Some 100x150 Notes II. Remembrance III. Anniversary (may be performed separately) 3(II,III=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(2):vib/marimba/xyl/ 3susp.cym/BD/glsp-pft(=cel)-strings(16.14.12.10.8)

Variations for Orchestra (1955) ................................................. 24’ (AMP)

2(=picc).2.2.2-4.2.3.1-timp.perc-harp-strings

SOLO INSTRUMENT(S) AND ORCHESTRA

Cello Concerto (2000) ................................................................. 18’ (H)

for cello and orchestra 3(III=picc).2.corA.2(II=bcl).bcl(=dbcl).2.dbn-4.3.3.1-timp.perc(3):I=xyl/ glsp/marimba/4tpl.bl/2cowbells/4wdbl/2log dr; II=vib/2SD/BD/3tom- t/4bongos; III=guiro/2SD/3susp.cym-harp-strings

Clarinet Concerto (1996) ............................................................ 18’ (H)

for clarinet and small orchestra 1.2(II=corA).0.1-1.1.1.1-perc(3):I=glsp/high gavel/4bongos/sm tom-t/lg tom-t/med susp.cym/lg wood dr/tam-t/med SD/low gavel; II=xyl/ 2metal bl/tpl.bl/lg wdbl/lg SD/lg susp.cym; III=vib/sm wdbl/ 2cencerros/sm susp.cym/sm SD/tom-t/BD/whip-harp-pft- strings(1.1.1.1.1)

Concertino for Bass Clarinet and Chamber Orchestra (2009) .... 9’ (H)

2(I=picc, II=afl).afl(=bfl).0.0.dbn-0.0.0.0-perc(2):I=xyl/vib/log dr/tam-t/ tom-t/SD/sus.cym/flat gong/conga/bongos; II=glsp/marimba/BD/tom- t/totos/SD/sus.cym/tpl.bl/pipe-pft-strings(min:2.2.2.2.2) string parts may be expanded proportionally

Conversations (2010) ................................................................... 7’ (H)

for piano, percussion and chamber orchestra or full orchestra perc for soloist:2tom-t/2congas/4bongos/SD/tam-t/2gongs/marimba/ vib/xyl/glsp/crot1(=picc).2.2(I=Ebcl, II=bcl).1-1.2.1.0- strings(min:2.2.2.2.2) (also see Two Controversies and a Conversation)

Dialogues (2003) .......................................................................... 14’ (H)

for piano and large ensemble 1(=picc).1(=corA).1.1(=dbn)-2.1.1.0-strings(min:2.2.2.2.2 max:12.10.8.6.4)

Dialogues II (2012) ....................................................................... 5’ (H)

for piano and chamber orchestra 1.1.1.1-2.1.1.0-strings

Double Concerto (1961) ............................................................. 23’ (AMP)

for harpsichord and piano with two chamber orchestras 1(=picc).1.1(=Ebcl).1-2.1.1.0-perc(4)-strings(1.0.1.1.1)

IGOR STRAVINSKY AND ELLIOTT CARTER

(1964)

Photo: Don Hunstein

Flute Concerto (2008) .................................................................. 13’ (H)

for flute and ensemble 1(=picc).1(=corA).2(II=bcl).1(=dbn)-2.1.1.0-perc(1):marimba/xyl/vib/ log dr/5tmpl.bl/2wdbl/SD/4bongos/4tom-t/2cyms/tam-t/shaker/ almglocke/BD/pipe-harp-pft-strings(min:2.2.2.2.2)

Horn Concerto (2006) ................................................................. 12’ (H)

for horn and orchestra 1.2picc.2.corA.2.bcl.dbcl.2.dbn-0.2.2.1-perc(3):I=vib/lg gong/bongos/ cowbell/high SD/lg almglocke/tgl/sm maracas/high SD/tpl.bl; II=marimba/2tom-t/lg susp.cym/4wdbl/sm susp.cym/2very high pipes/tamb/lg maracas/med SD; III=glsp/BD/low SD/log dr/med susp.cym/wind gong/guiro/lg pipe/med SD-pft-strings

Interventions (2007) .................................................................... 15’ (H)

for piano and orchestra 3(1,3=picc, 2=afl).3(II=corA).2(II=bcl).dbcl(=bcl).2.dbn-4.3C tpt(=Bb tpt).3.1-perc(4):I=xyl/marimba/4bongos/low cym/high SD/cowbell/lg almglocke/tam-t; II=4tmpl.bl/high cym/med SD/med tom-t/slapstick/ BD; III=4wdbl/med cym/low SD/low tom-t/guiro/wood drum/claves; IV=2metal pipes.2timbales/wind gong/nipple gong/maraca/sizzle cym-strings

Oboe Concerto (1986-87) ............................................................ 25’ (H) for oboe, concertino group and orchestra Concertino: perc(1):4timp/vib/glsp/2metal bl/2wdbl/4tpl.bl/2cowbells/ 4bongos/2tom-t/susp.cym/guiro-4vla Orchestra:1(=picc,afl).0.1(=bcl).0-1.0.1.0-perc(1):marimba/xyl/BD/tam- t/military dr/2SD/2susp.cym-strings(10.8.2.6.4 or 8.6.0.4.2)

Pastoral (1940, rev. 1988) ............................................................ 10’ (MM)

for English horn [or viola, or clarinet, or alto saxophone], marimba, and strings (also see Pastoral under ENSEMBLE AND CHAMBER)

Piano Concerto (1964-65) ........................................................... 25’ (AMP)

for piano and orchestra 3(II,III=picc)2.corA.2.bcl.2.dbn-4.3.3.1-perc(2):6timp-strings

Two Controversies and a Conversation (2011) ...................... 11’ (H)

for piano, percussion and chamber orchestra or full orchestra perc for soloist:4tom-t/2congas/4bongos/SD/tam-t/2gongs/med susp.cym/5tpl.bl(low to high)/marimba/vib/xyl/glsp/crot 1(=picc).2.2(I=Ebcl, II=bcl).1-1.2.1.0-strings (min:2.2.2.2.2) I. Controversy I II. Controversy II III. Conversation (III. may be performed separately as Conversations)

Violin Concerto (1990) ............................................................... 28’ (H)

for violin and orchestra 2(II=picc).picc.2.corA.2(II=Ebcl,bcl).bcl.2.dbn-4.3.3.1-perc(2): timp/ glsp/crot/vib/sm&lg susp.cym/sm&lg SD/tam-t/BD-strings (16.14.12.10.8 or 14.12.10.8.6)

CHAMBER ORCHESTRA

Elegy (1943, rev. 1952) .................................................................. 5’ (PIC)

for string orchestra (also see Elegy under ENSEMBLE AND CHAMBER)

Instances (2012) ............................................................................ 8’ (H)

for chamber orchestra 2(II=picc,afl).2.2(II=bcl).2(II=dbn)-2.1.1.0-perc(2):low tpl.bl/4tom-t/ 4bongos/marimba/BD/med cym/susp.cym/SD/tam-t/vib-pft-strings

Penthode (1985) ........................................................................... 18’ (H) for five groups of four instrumentalists 1(=picc,afl).1(=corA).1(=Ebcl).bcl(=dbcl).1-1.2.1.1-perc(3):I=marimba/ 3tpl.bl/2wdbl/lg SD/sm susp.cym/wood dr/gavel; II=vib/crot/sm tgl/ guiro/3susp.cym/military dr/gong/tam-t; III=claves/whip/4bongos/sm SD/3tom-t/BD/cowbell-harp-pft-1.1.1.1.1

Réflexions (2004) ......................................................................... 10’ (H)

for ensemble 2(I=picc2,afl,II=picc1).1.corA.2(I=Ebcl,II=bcl,dbcl).2(II=dbn)-2.2.2.0- perc(3):I=4bongos/4wdbls/BD/gong/sm susp.cym/lg SD/xylorimba; II=4tom-t/tam-t/stones/sm SD/2log dr/sm tgl/lg susp.cym/vib/glsp; III=4tpl.bl/sm cowbell/almglocke/med SD/hammer/guiro/claves/med susp.cym-harp-pft-2.1.2.2.1

Sound Fields (2007) ..................................................................... 4’ (H)

for string orchestra min. 9.6.6.6.4 players

OPERA

What Next? (1997-1998) .............................................................. 47’ (H)

An opera in one act Libretto by Paul Griffiths (English) lyrS,dramS,A,T,Bar,boy alto-2(II=picc).2(II=corA).2(II=bcl).2(II=dbn)- 2.1.1.1- perc(4):I=low susp.cym/6break dr/cowbell/slapstick/high susp.cym/xyl; II=hammer/low SD/med-low susp.cym/lg tamb/wood chime/5cowbell/3pipe/washboard/glsp; III=thunder sheet/BD/lg wdbl/low susp.cym/lion's roar/3tom-t/gong/med sizzle cym/ 4cowbell/med-high susp.cym/2break dr/piccolo SD/marimba; IV=tam-t/lg susp.trash can/guiro/BD/log dr/low susp.cym/med tom-t/ low SD/med sizzle cym/med-high susp.cym/3tpl.bl/3wdbl/2bongos/ vib-harp-pft-strings:(min.4.4.2.2.2) Onstage perc (may be played by perc I and II):I=med susp.cym/flexatone/piccolo SD/4tpl.bl/2cowbell/ 2break dr/slapstick/3pipe; II=med-low SD/sm gong/low susp.cym/ 4wdbl/2cowbell/2break dr/high susp.cym

CHORAL

The Defense of Corinth (1941) ................................................. 14’ (MM)

Text: Fançois Rabelais (English trans. by Thomas Urquhart) for speaker, chorus of men’s voices, and piano 4 hands narrator- TTBBchorus-pft

Emblems (1947) ........................................................................... 15’ (MMC)

Text: Allen Tate (English) for chorus of men’s voices and piano TTBB-pft

The Harmony of Morning (1944) .............................................. 9’ (AMP)

Text: Mark Van Doren (English) for women’s chorus (SSAA) and chamber orchestra 1.1.1.1-1.0.0.0-pft-strings

Harvest Home (1937, rev. 1997) .................................................. 4’ (H)

Text: Robert Herrick (English) for mixed chorus (SATB) a cappella

Heart Not So Heavy As Mine (1938) ........................................ 6’ (AMP)

Text: Emily Dickinson (English) for mixed chorus (SATB) a cappella

Let’s Be Gay (1937) ....................................................................... 3’ (H)

Text: John Gay (English) for chorus (SSA) and two pianos

Mad Regales (2007) ...................................................................... 9’ (H)

Text: John Ashbery (English) for 6 solo voices S.M.A.T.Bar.B 1. 8 Haiku 2. Meditations of a Parrot 3. At North Farm

Musicians Wrestle Everywhere (1945) ..................................... 3’ (MMC)

Madrigal for five mixed voices Text: Emily Dickinson (English) for chorus (SSATB) a cappella or with string orchestra

Tarantella ....................................................................................... 8’ (AMP) Text: Ovid (English translation) a) for men’s chorus (TTBB) and piano 4 hands (1936) b) for men’s chorus (TTBB) and orchestra (1937, rev. 1971) 2.picc.2.2.bcl.2.dbn-4.3.2.btrbn.1-timp.perc.xyl-strings

To Music (1937, rev. 1954) ........................................................... 7’ (PIC)

Text: Robert Herrick (English) for mixed chorus (SATB) a cappella

VOCAL

Dust of Snow (1942) .................................................................... 1’ (AMP)

Text: Robert Frost (English) for voice and piano (also see Three Poems of Robert Frost)

La Musique (2007) ....................................................................... 2’ (H)

Text: Charles Baudelaire (French) for soprano solo

Of Challenge and of Love (1994) ............................................. 22’ (H)

Text: John Hollander (English) for soprano and piano 1. High on Our Tower 2. Under the Dome 3. Am Klavier (at the Piano) 4. Quatrains from Harp Lake 5. End of a Chapter

Poems of Louis Zukofsky (2008) .............................................. 12’ (H)

Text: Louis Zukofsky (English) for clarinet and soprano 1. Tall and Singularly Dark 2. Alba (1952) 3. Finally a Valentine 4. O Sleep 5. The Rains 6. Rune 7. Strange 8. Daisy 9. You Who Were Made for This Music

The Rose Family (1942) ............................................................... 1’ (AMP) Text: Robert Frost (English) for voice and piano (also see Three Poems of Robert Frost)

Tell Me Where is Fancy Bred (1938) ......................................... 3’ (AMP)

Text: William Shakespeare (English) for alto voice and guitar

Three Poems of Robert Frost (1942) ......................................... 5’ (AMP)

Text: Robert Frost (English) for voice and piano 1. Dust of Snow 2. The Rose Family 3. The Line Gang (1., 2. may be performed separately) (also see Three Poems of Robert Frost under VOICE(S) AND ENSEMBLE)

Voyage (1943) ................................................................................ 6’ (AMP)

Text: Hart Crane (English) for med voice and piano (also see Voyage under VOICE(S) AND ENSEMBLE)

Warble for Lilac Time (1943, rev. 1954) .................................... 7’ (PIC)

Text: Walt Whitman (English) for soprano or tenor and piano (also see Warble for Lilac Time under VOICE(S) AND ENSEMBLE)

VOICE(S) AND ENSEMBLE

The American Sublime (2011) .................................................. 14’ (H)

Text: Wallace Stevens (English) for baritone and large ensemble 2(II=picc).afl.bfl(=afl).1.corA.2.bcl.dbcl(=bcl).1.dbn-1.1.0.0- perc(2):I=tam-t/guiro/SD(low, high)/wdbl(large, small)/tamb/ 4bongos(low to high)/3susp.cym(high)/cyms/vib; II=lion’s roar/BD/ 4tom-t(low to high)/2susp.cym(low, med)/4tpl.bl(low to high)/ 2bongos(low, high)/tamb-pft 1. The American Sublime 2. The Woman in Sunshine 3. This Solitude of Cataracts 4. Life is Motion 5. This is the thesis… [from “Esthétique du Mal”]

In Sleep, in Thunder (1981) ...................................................... 20’ (H) Text: Robert Lowell (English) for tenor and 14 instrumentalists 1(=picc,afl).1(=corA).1(=bcl).1-1.1.1.0-perc(1):vib/marimba/wdbl/ cowbell/guiro/bottle/maracas/sm sizzle cym/susp.cym/SD/TD/BD/ tam-t-pft-strings(1.1.1.1.1) 1. Dolphin 2. Across the Yard: La Ignota 3. Harriet 4. Dies Irae 5. Careless Night 6. In Genesis

In the Distances of Sleep (2006) ............................................... 15’ (H)

Text: Wallace Stevens (English) for mezzo-soprano and ensemble 2(II=picc).afl(=bfl).1.2(I=Ebcl,II=bcl).bcl(=dbcl).1-0.0.0.0-perc(2): I=xyl/ marimba/BD/3tom-t/3SD/4bongos/susp.cym; II=vib/sm tam-t/log dr/ tpl.bl/wdbl/guiro/almglock/cowbell/susp.cym/sizzle cym/SD/gong/ metal pipes-pft-strings(min:2.2.4.4.2) 1. Puella Parvula 2. Metamorphosis 3. Re-statement of Romance 4. The Wind Shifts 5. To the Roaring Wind 6. God is Good. It is a Beautiful Night

A Mirror on Which to Dwell (1975) ........................................ 20’ (AMP)

Text: Elizabeth Bishop (English) for soprano and chamber orchestra 1(=picc,afl).1(=corA).1(=Ebcl,bcl).0-0.0.0.0-perc(1):vib/marimba/ 4bongos/SD/BD/lg susp.cym/tgl-pft-strings(1.1.1.1) 1. Anaphora 2. Argument 3. Sandpiper 4. Insomnia 5. View of the Capitol from the Library of Congress 6. O Breath

Of Rewaking (2002) .................................................................... 13’ (H) Text: William Carlos Williams (English) for mezzo-soprano and orchestra 2(II=picc).2(II=corA).2(II=bcl).2(II=dbn)-2.1.1.0-perc(3):I=gavel/gong/ med susp.cym/high SD/lg cowbell/4wdbl; II=tam-t/2log dr/3tom-t/ med SD/high susp.cym/marimba; III=BD/low SD/low susp.cym/sm cowbell/4 bongos/guiro/vib-harp-pft-strings(min:6.4.4.3.2) 1. The Rewaking 2. Lear 3. Shadows

On Conversing with Paradise (2008) ...................................... 12’ (H)

Text: Ezra Pound (English) from Pisan Canto LXXXI; Canto CXX for baritone and ensemble 0.0.1(=bcl).bcl(=dbcl).0-1.0.0.0-perc(5): I=lg log dr/2congas/splash cym/ nipple gong/Japanese wdbl/vibraslap/xyl/marimba; II=3tom-t/ 4bongos/low susp.cym/metal wind chimes/guiro/maraca; III=med SD/ med susp.cym/3almglock/tam-t/4tpl.bl; IV=low SD/sm log dr/BD/ gong/2pipes/bamboo wind chimes/vib; V=high SD/sm BD/high susp.cym/4wdbl/guiro/crot/glsp-pft-strings(2.2.2.2.2)

A Sunbeam’s Architecture (2010) ............................................. 11’ (H)

Text: e.e. cummings (English) for tenor and chamber orchestra 1.1.2(II=bcl).1-0.0.1.0-perc(2):I=marimba/tam-t/2tom-t/3susp.cym/high SD/guiro; II=BD/log dr/3SD(lo, med, hi)/2tpl.bl/vib-pft- strings(min:2.2.2.2.2) 1. your little voice 2. no man 3. my sweet old etcetera 4. love 5. it’s jolly odd 6. somewhere

Syringa (1978) .............................................................................. 20’ (AMP)

Text: John Ashbery (English), various authors (Ancient Greek) for mezzo-soprano, bass, guitar, and ten instrumentalists 1.corA.bcl.0-0.0.1.0-perc(1)-pft-1.0.1.1.1

Tempo e Tempi (1998-99) ........................................................... 15’ (H) Text: Eugenio Montale/Salvatore Quasimodo/Giuseppe Ungaretti (Italian) for soprano and ensemble ob(=corA).cl(=bcl)-vln.vlc 1. Tempo e Tempi (Montale) 2. Ed è Subito Sera (Quasimodo) 3. Òboe Sommerso (Quasimodo) 4. Una Colomba (Ungaretti) 5. Godimento (Ungaretti) 6. L’Arno a Rovezzano (Montale) 7. Uno [from “Proverbi”] (Ungaretti) 8. Segreto del Poeta (Ungaretti)

Three Explorations (2010-11) .................................................... 10’ (H)

Text: T.S. Eliot (English) Drawn from T.S. Eliot’s Four Quartets, for solo baritone, winds and brass 1(=picc).2afl(I=fl, II=bfl).1.2bcl(1=cl, II=dbcl).0-0.3.ttrbn.tenor-bass trbn.btrbn.0 1. The River 2. Time and the Bell 3. The Fire and the Rose

Three Poems of Robert Frost (1975/81) .................................... 6’ (AMP)

Text: Robert Frost (English) for voice and chamber orchestra 1.1.2.1-0.0.0.0-pft-gtr-strings(1.1.1.1.1) 1. Dust of Snow 2. The Rose Family 3. The Line Gang (also see Three Poems of Robert Frost under VOCAL)

Voyage (1943) ................................................................................ 8’ (AMP)

Text: Hart Crane (English) for mezzo-soprano or baritone and orchestra 2.1.2.1-1.0.0.0-vib-harp-pft-strings(4.3.2.2.1 or 8.7.6.5.4) (also see Voyage under VOCAL)

Warble for Lilac Time (1943, rev. 1954) .................................... 7’ (PIC)

Text: Walt Whitman (English) for soprano or tenor and chamber orchestra 1.0.2.1-0.0.0.0-harp-strings (also see Warble for Lilac Time under VOCAL)

What Are Years (2009) ................................................................ 12’ (H) Text: Marianne Moore (English) for soprano and chamber ensemble 1(=picc).2.corA.bcl(=dbcl).2-perc(2):I=log dr/3susp.cym/wind gong/ maraca/sm tom-t/2SD/3tpl.bl/marimba; II=lg tam-t/low susp.cym/BD/ 4tom-t/med SD/splash cym/3bongos/guiro/vib-harp- strings(min.2.2.2.2.2) 1. Like a Bulwark 2. That Harp You Play So Well 3. The Being So-Called Human 4. To an Intra-Mural Rat 5. What Are Years

ENSEMBLE AND CHAMBER (WITHOUT VOICE)

Asko Concerto (1999-2000) ........................................................ 12’ (H) for ensemble 1(=picc).1.1.bcl.1-1.1.1.0-perc(1):xyl/vib/marimba/med SD/BD-harp- pft(=cel)-strings(1.1.1.1.1)

Au Quai (2002) .............................................................................. 3’ (H)

for bassoon and viola

Birthday Flourish (1988) ............................................................. 2’ (H) for 5 trumpets in C also arrangement for brass quintet 1.2.2.0

Brass Quintet (1974, rev. 1993) .................................................. 17’ (AMP)

for brass quintet 1.2.2.0

Call (2003) ...................................................................................... 1’ (H) for two trumpets and horn

Canon for 3 (1971) ........................................................................ 2’ (AMP)

In Memoriam Igor Stravinsky for 3 equal instruments

Canon for 4—Homage to William (1984) ................................ 5’ (H)

for flute, bass clarinet, violin, and cello

Canonic Suite ............................................................................... 7’ (AMP) a) for four alto saxophones (1939, rev. 1981) b) for four clarinets (1939, rev. 1945)

Clarinet Quintet (2007) .............................................................. 15’ (H) for clarinet and string quartet

Con Leggerezza Pensosa (1990) ................................................. 5’ (H)

Omaggio a Italo Calvino for clarinet, violin and cello

Double Trio (2011) ....................................................................... 8’ (H)

for six players tpt.trbn-perc(1):BD/2susp.cym/guiro/3tom-t/SD/3bongos/marimba/ vib-pft-vln.vlc

Duettino (2008) ............................................................................. 3’ (H)

for violin and cello (also see Tre Duetti)

Duettone (2009) ............................................................................ 4’ (H)

for violin and cello (also see Tre Duetti)

Duo for Violin and Piano (1973-74) ......................................... 18’ (AMP)

Eight Etudes and a Fantasy (1949-50) ...................................... 23’ (AMP)

for flute, oboe, clarinet and bassoon

Elegy (1943, rev. 1952) .................................................................. 5’ (PIC) a) for viola and piano (1943, rev. 1961) b) for string quartet (1946) c) for cello and piano (1943-44, rev. 2007) (also see Elegy under CHAMBER ORCHESTRA)

Enchanted Preludes (1988) ......................................................... 6’ (H)

for flute and cello

Epigrams (2012) ........................................................................... 12’ (H) for piano, violin, and cello

Esprit Rude/Esprit Doux (1984) ................................................. 4’ (H)

for flute and clarinet

Esprit Rude/Esprit Doux II (1994) ............................................. 5’ (H) for flute, clarinet and marimba

A Fantasy about Purcell’s “Fantasia upon One Note” (1974) .... 3’ (AMP)

for brass quintet 1.2.2.0

Fragment No. 1 (1994) ................................................................. 4’ (H) for string quartet

Fragment No. 2 (1999) ................................................................. 3’ (H)

for string quartet

Glock Birthday Fanfare (1978) .................................................. 2’ (AMP) for 3 trumpets and vibraphone

Hiyoku (2001) ............................................................................... 4’ (H)

for two clarinets

Immer Neu (1992) ........................................................................ 5’ (H) for oboe and harp (also see Trilogy)

Luimen (1997) .............................................................................. 12’ (H)

for trumpet, trombone, vibraphone, mandolin, guitar, and harp

Mosaic (2004) ............................................................................... 10’ (H) for chamber ensemble fl(=picc,afl).ob(=corA).cl(=bcl)-harp-vln.vla.vlc.db

Nine by Five (2009) ...................................................................... 8’ (H)

(Woodwind Quintet No. 2) fl(=picc).ob(=corA).cl(=Ebcl).bn(=dbn).hn

Oboe Quartet (2001) ................................................................... 17’ (H)

for oboe, violin, viola, and cello

Pastoral (1940) .............................................................................. 10’ (MM) for English horn [or viola, or clarinet] and piano (also see Pastoral under SOLO INSTRUMENT(S) AND ORCHESTRA)

Quintet for piano and string quartet (1997) ........................... 16’ (H)

for piano, 2 violins, viola, and cello

Quintet for piano and winds (1991) ........................................ 24’ (H) for oboe, clarinet (and Eb clarinet), bassoon, horn, and piano

Rigmarole (2011) .......................................................................... 2’ (H)

for cello and bass clarinet

Sonata for Violoncello and Piano (1948) ................................ 20’ (AMP)

Sonata for Flute, Oboe, Cello and Harpsichord (1952) ....... 18’ (AMP)

String Quartet No. 1 (1950-51) .................................................. 45’ (AMP) for 2 violins, viola, and cello

String Quartet No. 2 (1959) ....................................................... 22’ (AMP)

for 2 violins, viola, and cello

String Quartet No. 3 (1971) ....................................................... 22’ (AMP) for 2 violins, viola, and cello

String Quartet No. 4 (1986) ....................................................... 24’ (H)

for 2 violins, viola, and cello

String Quartet No. 5 (1995) ....................................................... 21’ (H) for 2 violins, viola, and cello

String Trio (2011) .......................................................................... 7’ (H)

for violin, viola, and cello

Tintinnabulation (2008) .............................................................. 9’ (H) for percussion sextet perc(6):I=2congas/4bongos/lg log dr/flat gong/Chinese opera gong/ wood drum; II=guiro/maracas/2susp.cym/tgl/slap stick/alto nipple gong/3tom-t/alto SD/picc.wdbl; III=bass nipple gong/splash cym/high SD/claves/ratchet/darbouka/timbale/tom-t; IV=sop.nipple gong/ talking drum/shaker/med SD/lg tam-t/sm tam-t/Japanese wdbl/sm log dr; V=5tpl.bl/2wdbl/tenor nipple gong/low SD/3pipes; VI=4almglocken/2wdbl/BD/hammer/tom-t/bari.nipple gong

Tre Duetti (2008-09) ..................................................................... 9’ (H)

for violin and cello I. Duettone II. Adagio III. Duettino (I., III. may be performed separately; I. and III. may be performed together in either order)

Trije glasbeniki (2011) ................................................................ 2’ (H) for flute, bass clarinet and harp

Trilogy (1992) ............................................................................... 15’ (H)

I. Bariolage (for harp) II. Inner Song (for oboe) III. Immer Neu (for oboe and harp) (may be performed separately)

Triple Duo (1982-83) ................................................................... 20’ (H) for six players fl(=picc).cl(=Ebcl,bcl)-perc(1):glsp/crot/marimba/lg susp.cym/SD/BD/ 3tpl.bl/4tom-t-pft-vln.vlc

Wind Rose (2008) ......................................................................... 6’ (H)

for wind ensemble picc.3.2afl.bfl.3.2corA.Ebcl.3.3bcl.dbcl.3.dbn

Woodwind Quintet (1948) .......................................................... 8’ (AMP)

for flute, oboe, clarinet, bassoon, and horn

INSTRUMENTAL

4 Lauds .......................................................................................... 15’ (H)

for violin I. Statement—Remembering Aaron (1999) II. Riconoscenza per Goffredo Petrassi (1984) III. Rhapsodic Musings (2000) IV. Fantasy—Remembering Roger (1999) (may be performed separately)

A 6 Letter Letter (1996) ................................................................ 3’ (H)

for English horn

Bariolage (1992) ............................................................................ 7’ (H) for harp (also see Trilogy under ENSEMBLE AND CHAMBER)

Changes (1983) .............................................................................. 7’ (H)

for guitar

Eight Pieces for Four Timpani (one player) (1950/66) ............ 22’ (AMP) I. Saeta II. Moto Perpetuo III. Adagio IV. Recitative V. Improvisation VI. Canto VII. Canaries VIII. March (The Eight Pieces are a collection, rather than a suite. In live performance, as many as four may be performed together. Each may be performed separately.)

Fantasy—Remembering Roger (1999) ...................................... 3’ (H) for violin (also see 4 Lauds)

Figment (1994) .............................................................................. 5’ (H)

for cello

Figment II: Remembering Mr. Ives (2001) .............................. 5’ (H) for cello

Figment III (2007) ......................................................................... 3’ (H)

for contrabass

Figment IV (2007) ......................................................................... 3’ (H) for viola

Figment V (2009) .......................................................................... 2’ (H)

for marimba

Figment VI (2011) ......................................................................... 2’ (H) for oboe

Gra .................................................................................................. 5’ (H)

a) for clarinet (1993) b) for trombone (1994) (arranged by Benny Sluchin)

HBHH (2007) ................................................................................. 2’ (H)

for oboe

Inner Song (1992) ......................................................................... 5’ (H) for oboe (also see Trilogy under ENSEMBLE AND CHAMBER)

Mnemosyné (2011) ....................................................................... 2’ (H)

for violin

Retracing (2002) ............................................................................ 3’ (H) for bassoon

Retracing II (2009) ........................................................................ 2’ (H)

for horn

Retracing III (2009) ...................................................................... 2’ (H) for trumpet

Retracing IV (2011) ...................................................................... 2’ (H) for tuba

Retracing V (2011) ........................................................................ 2’ (H)

for trombone

Rhapsodic Musings (2000) ......................................................... 5’ (H) for violin (also see 4 Lauds)

Riconoscenza per Goffredo Petrassi (1984) ............................ 4’ (H)

for violin (also see 4 Lauds)

Scrivo in Vento (1991) ................................................................. 5’ (H)

for flute

Shard (1997) .................................................................................. 3’ (H) for guitar

Statement—Remembering Aaron (1999) ................................. 3’ (H)

for violin (also see 4 Lauds)

Steep Steps (2001) ........................................................................ 3’ (H)

for bass clarinet

PIANO

90+ (1994) ....................................................................................... 5’ (H)

Caténaires (2006) .......................................................................... 4’ (H)

(also see Two Thoughts About the Piano)

Fratribute (2008) ........................................................................... 2’ (H) (also see Tri-Tribute)

Intermittences (2005) ................................................................... 6’ (H)

(also see Two Thoughts About the Piano)

Matribute (2007) ........................................................................... 4’ (H) (also see Tri-Tribute)

Night Fantasies (1980) ................................................................ 20’ (AMP)

Piano Sonata (1945-46, rev. 1982) .............................................. 20’ (MMC)

Retrouvailles (2000) ..................................................................... 2’ (H)

Sistribute (2008) ........................................................................... 2’ (H) (also see Tri-Tribute)

Tri-Tribute (2007-2008) ................................................................ 8’ (H)

I. Matribute II. Fratribute III. Sistribute (may be performed separately)

Two Diversions (1999) ................................................................ 8’ (H) Two Thoughts About the Piano (2007) .................................... 10’ (H)

I. Intermittences

II. Caténaires (may be performed separately)

ELLIOTT CARTER

(2005)

AMP = Associated Music Publishers (www.musicsalesclassical.com) H = Hendon Music (Boosey & Hawkes) (www.boosey.com) MMC = Mercury Music Corporation (Theodore Presser) (www.presser.com) MM = Merion Music (Theodore Presser) (www.presser.com) PIC = Peer International Corporation (www.peermusicclassical.com)