Work
Compositions
- 2008_#79_The Oak at Mambre (11’04) for doublebass
- 2008_#78_Pajduska_Geamparaua_Hijaz (5’11) for 4 blockflöte (tenor, bass F, grossbass C, Subbass F)
- 2008_#77_A Marriage of Shadows (19’21) for flute (alt), Alto (ten) sax, percussion, 6 & 10 string guitar, voice
- 2007_#76_DRAFT 1/25/2002 (13’29) for solo voice and two female speaking voices
- 2007_#75_fragmenta Scotia (58’35) for voice, flute, clarinet, trombone, percussion, guitar, violin, viola, violoncello and double bass.
- 2006_#74_illusions for English horn, clarinet, bassoon, horn, trumpet, piano, viola
- 2006_#73_adjusting to beams falling for flute and violoncello
- 2005_#72_Tempo Mental Rap for guitar
- 2005_#71_Art from the Edge of the World (8’25) for oboe
- 2004_#70_1 sonata for piano
- 2003_#69_A Little Watter, man (59”) an electronic composition
- 2002_#68_prāna (8’27) for 4 solo voices and non-stable drone
- 2002_#67_Kut (7’54)__version a: for sheng (or accordion or oboe), female voice, violin; version b: for voice and electronics
- 2002_#66_overture (9’05) for seven violins
- 2002_#65_Tractatus I for oboe
- 2002_#64_String Quartet #1 (60’00) for string quartet
- 2001_#63_Koli (2’00) for string quartet and bass voice
- 2001_#62_Anaphora (25’39) for voice
- 2001_#61_Divergence (7’43) for two voices and electronics
- 2001_#60_Cantor's Dust (11’21) for solo voice and electronics
- 2001_#59_The Elements of Risk in Creation (5’51) an electronic composition with optional voice<
- 2000_#58_Kalevi Matus (12’00) for choir
- 2000_#57_Samsara (17’00) for twenty strings
- 2000_#56_le Criterion for wind septet
- 2000_#55_Mamre (11’04) for solo violin
- 1999_#54_Friedrich's Comma (1’35) for two voices
- 1999_#53_Wassermann (10’59) an electronic composition
- 1999_#52_Pakji Studies (5’00) for wind, brass and percussion
- 1999_#51_Twelve Miniatures (3’00) for wind, brass and piano
- 1999_#50_Pakji (8’00) for wind ensemble
- 1998_#49_KOSMOS, volume two on reinforced harmonics multiple pieces for one to four voices
- 1998_#48_KOSMOS, volume one on articulation multiple pieces for one to four voices
- 1998_#47_Schreistimme (25’47) for bayan (accordion)
- 1998_#46_Azure Suite (4’30) for soprano and overtone singer
- 1998_#45_Taffy Twisters (6’05) for voice and percussion
- 1998_#44_Agwara-Nanga-Wolof (20’05) for steel pans, African drums, brass and saxophone
- 1998_#43_Sirens (8’21) for four to forty voices
- 1998_#42_Pyramid of Unas (revision needed) for orchestra and six voices
- 1997_#41_Lingua-Palatal #1 (3’28) for two voices
- 1997_#40_24 October 1667 (7’55) for marine trumpet and voice
- 1997_#39_A Holy Person Falls into the Nile as a Pelican (7’13) for clarinet and horn
- 1997_#38_Circles et Articulation (5’57) for trumpet and piano
- 1997_#37_l'histoire du petit Heure (10’00) for percussion ensemble
- 1997_#36_Mit Unulgn Tri-Ien Psiiii iii (8’25) for five voices
- 1996_#35_Apposte Messe (21’15) for mechanical organ
- 1996_#34_Worcester Fragments (3’00) for four to six voices
- 1996_#33_No!!! (11’57) for two voices, rope climbers and drummers
- 1996_#32_Giants (2’30) for solo violin
- 1996_#31_On Music (12’00) for flute and viola
- 1996_#30_ "...by the way, your name makes music..." (3’00) for xylophone
- 1995_#29_Syale #1 (4’34) an electronic composition
- 1995_#28_Lincoln Shrine (12’07) for marimba and violin
- 1995_#27_Mountain Songs (4’01) for solo voice
- 1995_#26_David, not too Syl (i) (3’00) for vibraphone
- 1995_#25_Songs of Vent (6’00) for multi-percussion solo
- 1995_#24_Pedagogy Piece (18’26) for six voices
- 1995_#23_XHAIN (19’00) for piano duo
- 1995_#22_Regret of a Noiseless Sundering (ca. 20’00) for saxophone quartet
- 1994_#21_A Broken Collaboration (30’00) for solo actor, 3 voices, electric guitar and cello
- 1994_#20_The Night of Brahman-The Dance of Fire (5’00) for solo violin
- 1993_#19_The 15th Century Walled Garden - Apokatastasis (30’00) for solo percussion, mosh pit, geodesic dome, car hoods, rocks, metal and other objects
- 1993_#18_The Electric Meat Factory (180’00) for soprano, chanter, guitar, percussion, wall bass, electronic tape, spatialization in a three-story house played as an instrument
- 1993_#17_Fracture Zone: Clipperton et Ragusii (120’00) an underwater music drama
- 1992_#16_Fama Fraternitatis (8’00) for solo voice, assorted instruments, dancers and tunnelers
- 1991_#15_Net/Byrinth: Rec. Study 1 (4’55) for trumpet, horn, and trombone
- 1991_#14_Michelle 8091-434 (12’16) for bass clarinet, b. sax, tuba, double bass, trap set
- 1990_#13_Whose Land? (16’13) for rock band and tape
- 1989_#12_The Hidden Thunder of Screaming Souls (17’39) for voice and viola
- 1989_#11_Hour History (60’00) (opera) for 4 principal actors, 11 male voices, 9 percussionists
- 1989_#10_In America (9’27) for electronic composition
- 1988_#9_Unspoken Crime (12’49) for violin, violoncello and piano
- 1988_#8_Expansions 1a (7’58) for flute, clarinet, bass clarinet and bassoon
- 1987_#7_My Country (3’10) for electronic composition
- 1987_#6_Current: The Eternal Mystery (12’21) for percussion ensemble
- 1987_#5_Ai (12’03) for trumpet, trombone, tuba
- 1986_#4_Expansions (7’07) for piano
- 1986_#3_A Penny for the Young Guy (13’34) for narrator, voices, winds, brass, strings
- 1986_#2_Dwellers of the Southwest for tenor and mixed ensemble
- 1985_#1_The Final Diary of a Branch (10’15) for orchestra
Read more about this topic: Michael Edward Edgerton
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—Sarah Fielding (1710–1768)
“The real risks for any artist are taken ... in pushing the work to the limits of what is possible, in the attempt to increase the sum of what it is possible to think. Books become good when they go to this edge and risk falling over it—when they endanger the artist by reason of what he has, or has not, artistically dared.”
—Salman Rushdie (b. 1947)
“... idleness is an evil. I don’t think man can maintain his balance or sanity in idleness. Human beings must work to create some coherence. You do it only through work and through love. And you can only count on work.”
—Barbara Terwilliger (b. c. 1940)