Works in chronological order
     

It's Gonna Rain (1965)
tape

  17’

Come Out (1966)
tape

  13’

Melodica (1966)’
tape

  11

Piano Phase (1967)
for two pianos - can also be played on two marimbas
published by Universal Edition ( London )

  15’-21’

Violin Phase (1967)
for violin and tape or four violins
published by Universal Edition (London )

  15’-18’
My Name Is (1967)
for three tapes recorders and performers
manuscript only 		  7-15’
Pendulum Music (1968)
for 3 or 4 microphones, amplifiers and loudspeakers
published by Universal Edition (London) 		  5’-8’
Four Organs (1970)
for four electric organs and maracas
published by Universal Edition (London) 		  16’-22’
Phase Patterns (1970)
for four electric organs
published by Universal Edition (London) 		  15’-18’
Drumming (1970-71)
for 4 pairs of tuned bongo drums, 3 marimbas, 3 glockenspiels, 2 female voices, whistling and piccolo
Part 1: 4 pairs of tuned bongo drums
Part 2: 3 marimbas(9 players),2female voices
Part 3: 3 glsp(4 players),picc
Part 4: complete ensemble
(each of the four parts may be performed separately)
ensemble: 9 percussion, picc., 2 women’s voices (S,A)
all instruments and voices amplified



17'-25’
18’-26'
11’-16'
9’-19'		 55’-86’
Clapping Music (1972)
two musicians clapping
published by Universal Edition (London)
both musicians amplified 		  3’-5’
Music for Pieces of Wood (1973)
for five pair of tuned claves
published by Universal Edition 		  7’-10’
Music for Mallet Instruments, Voices, and Organ (1973)
4 marimbas,vibraphone,2 female voices (S & A) (long tones with organ).
1 female voice (S) (melodic patterns with marimbas).elec.organ
all voices and instruments amplified 		  17'-20'
Six Pianos (1973)
for six pianos
(available as Six Marimbas for six marimbas) 		  24’
Music for 18 Musicians (1974-76)
for ensemble
2cl(I,II=bcl)—4pft—perc(6):3marimbas/2 xyl/vib—vln.vlc—4female voices(SSSA) All instruments and voices amplified 		  55’-65’
Music for a Large Ensemble (1978)
1.0.2.2ssax.0—0.4.0.0—perc:4marimba/2xyl/vib—4pft—2vln.2vla.2vlc.1db
—2female voices (S.A) (woodwinds,pianos,voices and strings amplified) 		  17’
Variations for Winds, Strings, and Keyboards (1979)
for orchestra
3.3.0.0—0.3.3.1—2pft—3elec.organ—strings 		  21’30”
Octet (1979)
see Eight Lines (1983) 		   
Tehillim (1981)
for voices and ensemble
Text: Psalms 19,34,18,150 (Heb)
1.picc.1.corA.2.0—perc(6):maracas/clapping/4tuned tamb without
jingles/marimba/vib/crot—2elec.organ—4women's voices(high sop, 2lyric
sop, alto)—strings 2-2-2-2-1 (woodwinds, voices, and strings amplified) 		  30’
Tehillim (1981)
for voices and orchestra
Text: Psalms 19,34,18,150 (Heb)
(orchestral version)
3.picc.2.corA.2.1—perc(6):maracas/clapping/4tuned tamb without
jingles/marimba/vib/crot—2elec.organ—4female voices(high sop, 2lyric
sop, alto)—strings (woodwinds and voices amplified) 		  30’
Vermont Counterpoint (1982)
for amplified flute (=piccolo,alto flute) and tape.
Ensemble version for 8 flutes (1=picc,afl.4=picc) & 3afl 		  9’
Desert Music, The (1984)
for amplified chorus (27), and orchestra
Text: William Carlos Williams (E)
4(II,III,IV=picc).4(II,III,IV=corA).4(II,III,IV=bcl).4(IV=dbn)—4.4
(I=picc.tpt ad lib).3.1—timp(2players=rototoms).perc(7):medium tam-t/
maracas/sticks/2BD/2glsp/2xyl/2vib/2marimba—2pft(4players)—
strings(12.12.9.9.6) (voices and woodwinds amplified) 		  46’
Desert Music, The (1984)
for 10 singers (amplified) and reduced orchestra
Text: William Carlos Williams (E)
4(II,III,IV=picc).0.0.0—4.4(I=picc.tpt ad lib).3.1(brass optional)—
timp(2players=rototoms).perc(7):med tam-t/maracas/sticks/2BD/2glsp/
2xyl/2vib/2marimba—2pft(4players:I,III,IV=synth)—strings 3-3-3-3-1
(voices,woodwinds and strings amplified) 		  46’
Eight Lines (1983)
for ensemble
2fl(=picc).2cl(=bcl)—2pft—strings(2.2.2.2.1)
For performances where the concert hall has a capacity of greater
than 200 the flutes (but not piccolos) & clarinets/bass clarinets and pianos
must be amplified 		  17’30”
Sextet (1984)
for percussion and keyboards
2pft(3players).2elec.pft(synth)—perc:2vib(bowed)/3marimba/tam-t/
click sticks/2BD/crot (+ amplification) 		  28’
New York Counterpoint (1985)
for amplified clarinet and tape,
or 11 clarinets(8 clarinets, clarinet (=bass clarinet), 2 bass clarinets) 		  11’
New York Counterpoint (Saxophone Quartet version) 1985)
Arranged for amplified saxophone quartet by Susan Fancher for the Vienna Saxophone Quartet
saxophone quartet (SATB) with tape 		  11’
New York Counterpoint (solo soprano saxophone + tape) (1985)
Arrangement for solo amplified soprano saxophone and tape by Susan Fancher 		  11’
Six Marimbas (1986)
transcription of Six Pianos (1973) for 6 marimbas 		  24’
Three Movements (1986)
for orchestra
2.2picc.2.corA.3.3(III=dbn).dbn—4.3.3.1—perc:2marimbas/2vib/
BD—2pft(4 hands)—strings (left:6.6.4.4.4;right:6.6.4.4.4)
if required for balance, 1st violin section right may be expanded to
8 players 		  15’
Electric Counterpoint (1987)
for electric guitar or ampliied acoustic guitar and tape
Amplified Guitar soloist and tape, or guitar ensemble. Ensemble consists of 12 guitars and 2 electric bass guitars 		  15’
The Four Sections (1987)
for orchestra
4(IV=picc).4.4(IV=bcl).4(IV=dbn)—4.4.4.1—timp.perc(4):2vib/2marimba/
2BD—2pft(=2synth)—strings(16.16.12.8.6) 		  25’
Different Trains (1988)
for string quartet and tape 		  27’
Different Trains (1988, orch.2000)
(string orchestra version)
String orchestra and tape - withdrawn 2003 		  27’
The, Cave (1990-93)
Music and Video theatre work
Video by Beryl Korot
Text: Bible (E), Koran and documentary material (E)
2ww(fl, ob, corA, cl, bcl)—perc(4):vib/mar/BD/kick drums/claves—3kbd
(pft, sampler. computer kbd)—strings 1.1.1.1.0
4 voices S,S,T,Baritone
all voices and instruments amplified
requires six screens, video projectors, multi channel synchronoized video playback 		  2:22’
Duet (1993)
for two solo violins and string ensemble
2 solo vln.4vla.3vlc.db or small string orchestra 		  5’
Typing Music (1993)
[Genesis XII]
for percussion from The Cave, Act I
amplified computer keyboard.2clapping.2claves.2BD 		  3’
The Cave (excerpts) (1993/2003)
for amplified voices and ensemble 		  18’
Nagoya Marimbas (1994)’
for two marimbas 		  5
Nagoya Guitars (1994, transcribed 1996)
transcription for two guitars by David Tannebaum in collaboration with the composer 		  5’
City Life (1995)
for amplified ensemble
2.2.2.0—0.0.0.0—perc(3 or 4):2vib/cym/SD/2BD—2pft.2samplers
(3 sampling keyboards)—strings(1.1.1.1.1)
all instruments amplified 		  24’
Proverb (1995)
for voices and ensemble
Ludwig Wittgenstein (E)
3 lyric sop.2 ten—2 vib—2 kbd (playing 4 five-octave keyboards)
depending on hall voices and vibraphones may be amplified 		  15’
Triple Quartet (1998)
for amplified string quartet (with pre-recorded tape), or three string quartets, or string orchestra 9-9-9-9-0
Original: for string quartet and pre-recorded tape
Also: for three string quartets or string orchestra
NB: these are two separate performing editions 		  15’
Know What Is Above You (1999)
for four women’s voices (S,S,A,A) and 2 percussion (tamborims) 		  3’30”
Electric Guitar Phase (2000)
for electric guitar and pre-recorded tape
arrangement of Violin Phase(1967) 		  15’ - 18’
Tokyo/Vermont Counterpoint (2000)
for KAT MIDI mallet and pre-recorded tape
arrangement of Vermont Counterpoint (1981) 		  9’
Three Tales (2002)
Video Opera. Video by Beryl Korot
Act I: Hindenburg
Act II: Bikini
Act III: Dolly
5 voices: 2S, 3T;
perc(4):/2vib/2SD/2pedal kick dr/susp.cym/large gong
2pft
string quartet—prerecorded video and audio tape
DA-88 Digital Tape recorder and high-quality video projection equipment required
all voices and instruments amplified


16’
22’
27’ 		1:05’
Dance Patterns (2002)
2 xylophones, 2 vibraphones, 2 pft 		  6’
Cello Counterpoint (2003)
for amplified cello and multichannel tape 		  15’
You Are (Variations) (2004)
text: Rabbi Nachman of Breslov (E), Psalms (Heb.), Wittgenstein (E) & Pirke Avot (Heb.)
for amplified ensemble and voices
2-2-3-0, no brass, 2 marimbas, 2 vibraphones, 4 pft., strings 3-3-3-3-1
voices S,S,S,A,T,T 		  ca. 27’