The 365-Day Composition Project"We Are All Mozart"A project to create |
The Project is over as of 10:24pm, December 31, 2007. More soon here and in the blog. The 365-day composition project "We Are All Mozart" (WAAM) was an idea I had had for years. I believed that productivity and excellence are not mutually exclusive, nor do they belong to the past alone. I believe that our ability to "be Mozart" (meaning any prolific composer) today is inhibited by lack of demand on our inherent productivity. In other words, the more we do, the better we get at it and the more new ideas we have. Humans are problem solvers, and for composers, it is the blank page that is to be solved. But just as important to me was to do something intense to keep nonpop visible and to inspire ensembles, listeners and other composers. Kalvos & Damian's New Music Bazaar was my previous project, where David Gunn and I hosted the ASCAP/Deems Taylor Award-winning radio/web program that ran 537 shows from 1995-2005. WAAM originally demanded a finished composition each day in 2007 -- on commission, not just the act of daily musing on the acoustic navel-value. This full-time work needed to have each piece commissioned for every day, but it hasn't worked out that way, so I made that goal 100 commissions for the year. As of November 17, the goal of 100 commissions has been met, and 75 are complete. Many below have demos, and some of the actual premieres are now posted. WAAM is an insane idea, even if it is 'only' 100 compositions. Before WAAM's 2007 year, I had created some 730 compositions. (click here for the Big List!) I practiced mightily for 2007, finishing nearly 20 pieces in 2006 (already dwarfed by 75 in 2007). This may feel like a vanity project or a gimmick. It is neither. Each piece must be wanted, commissioned, paid for. Also, I may fail at this project. I may not be able to dip deeply into the well for fresh ideas every day. So far, as of mid-November, it's worked -- but we shall see. Realizing how many compositions were possible in the past for composers who had the chance to do it, I figured the time is now. And above I wrote, "the more we do, the better we get at it and the more new ideas we have." Since I began WAAM, composers have been in touch, telling me that it has changed their view on composition -- that art and its place in the culture are not diminished if they pushed themselves to write more. And yes, they got better with the practice. If you are here out of curiosity, welcome. If you are here to commission a work, let me know and we'll talk about next year's 'normal' schedule! (If you're from the media, please contact me.) Also, two other projects have followed mine, but with very different approach. Daniel Wolf is doing a piece a day for November 2007, and David Morneau is doing a 60-second piece a day for a year. Welcome aboard! Fortunately, my train is coming into the station is six weeks! My not-so-daily blog -- info you can use, argue with or laugh at! -- is in remission for now (too much to compose), but will return occasionally when I have the time, and then next year. To learn more: My interview on WKCR New York (89.9 FM) with Anne Cammon is available. The show is "Arts & Answers" with special guest Robert Voisey (who also did the wonderful intro/outro music), and broadcast August 12, 2006. I sounded more like used-car salesman Milton Babbitt than I expected, but it was exciting and even revealing. You can hear it as a broadband stream or via download. Appearing on Anne's show was a great pleasure. A summary of my September 10, 2006, presentation to the National Extension Tourism Conference is also available in my blog. Read about the presentation, download the PowerPoints, and use the recommendations in your community! WAAM was brought to the brink by my friends, and composers Noah Creshevsky and Carson Cooman, who pushed me over the edge. I thank my wife, family and friends for their patience and understanding. |
Two pages from the score of Mantra Canon, composed in 1986. The 30-minute work is for descant soprano, chorus, orchestra, two pianos, and six percussionists. Back to Dennis Báthory-Kitsz Home Page | To the WAAM Blog |
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Status: | Date Available | Commissioned | Completed | Premiered |
Waltz in No Time, January 1975January | |||||
Date | Composition Title | Form/Instrumentation | Commissioner | Status | Premiere Date & Location |
1 | Graffiti (A New Year's Celebration for Noah) | electronic playback | Noah Creshevsky | Listen | |
2 | Toccata: Delle Montagne Verdi | piano | Marianna Rosett | Listen (Demo) Score | |
3 | Candles of Red Sky | theremin solo | Ann Cantelow | Score | |
4 | _____ | _____ | _____ | Customer engraving | |
5 | _____ | _____ | _____ | Customer engraving | |
6 | I lift my heavy heart | voice, flute guitar | Beth Griffith | Score | |
S7 | _____ | _____ | _____ | For days of | |
8 | _____ | _____ | _____ | January 7-17: | |
9 | _____ | _____ | _____ | Commissions | |
10 | _____ | _____ | _____ | moved for prep | |
11 | _____ | _____ | _____ | and attendance at | |
12 | _____ | _____ | _____ | Chamber Music | |
13 | _____ | _____ | _____ | America in New | |
S14 | _____ | _____ | _____ | York as well as | |
15 | _____ | _____ | _____ | engraving and editing | |
16 | _____ | _____ | _____ | clients (see note). | |
17 | _____ | _____ | _____ | Also see blog. | |
18 | coalescence | trumpet/organ | Carson Cooman | Listen (Demo) Score | |
19 | Lunar Cascade in Serial Time: January | tenor guitar | Seth Gordon | Cover Score | |
20 | _____ | _____ | _____ | Article writing | |
S21 | In het Donkere Bos | viola & bass clarinet | Darkwood Consort | Listen (Demo) Score | |
22 | Pivot: The House of Cloves | 4-track Midi | Patrick/Chris May | Listen (Demo) Listen (Midi) Score | |
23 | Moving to Lullaby | trombone solo | Monique Buzzarté | Listen (Demo) Score | |
24 | Come, come | SATB chorus & accpt. | Presb. Church, Sudbury, Mass.; Matthew Guerrieri, dir. | Listen (Demo, no text) Score | 2/25/07, Sudbury MA |
25 | Coarse Salt | soprano sax solo | Michael Straus | Listen (Demo) Score | Apr. 13, Baltimore |
26 | Earth, Air, Water, Sleep | song cello (or vocalise) & piano | Canary Burton | Listen (Demo) Score | |
27 | _____ | _____ | _____ | Unscheduled | |
S28 | Mountains of Spices | vn, vla, mezzo, piano | Eleva Chamber Players | Listen Score | 4/14/07, Tulsa |
29 | _____ | _____ | _____ | Unexpectedly called away | |
30 | Delivery | piano/2 pianos | Jason Armstrong | Listen (Demo) Scores: 1 piano 2 pianos | |
31 | Starry Night | piano | Patricia Goodson | Listen (Demo) Score | |
Note: Because WAAM did not fill in completely, outside work and activity is required for survival. I am working on a reasonable schedule in which to group commissions in a way that can still carry out the WAAM concept. |
Incidental Music to Lysistrata, February 1971February | |||||
Date | Composition Title | Form/Instrumentation | Commissioner | Status | Premiere Date & Location |
1 | Running the Traction Line | bass/cello duo | P. Kellach Waddle | Listen (Demo) Score | |
2 | _____ | _____ | _____ | Unscheduled | |
3 | What to Do, Farmer Gray? | 4-mallet marimba | Luke Hubley | Listen (Demo) Score | |
S4 | _____ | _____ | _____ | Unscheduled | |
5 | Return to Nineveh | extended voice | Taylan Susam | Score | |
6 | _____ | _____ | _____ | Unscheduled | |
7 | Centering | SATB chorus | Johnson State College Choir | Listen (Demo) Score | |
8 | _____ | _____ | _____ | ||
9 | Soundings | organ prelude on "Sounding Joy" | Carson Cooman | Listen (Demo) Score | 7/16/07, Ottawa |
10 | _____ | _____ | _____ | ||
S11 | _____ | _____ | _____ | ||
12 | Compound Refractions | flute solo | John McMurtery | Listen Score | |
13 | _____ | _____ | _____ | Offsite photo shoot | |
14 | _____ | _____ | _____ | ||
15 | The Ideal | voice & piano | Nora Tombalakian | Listen (Demo) Score | |
16 | _____ | _____ | _____ | ||
17 | Lunar Cascade in Serial Time: February | tenor guitar | Seth Gordon | Cover Score | |
S18 | _____ | _____ | _____ | ||
19 | _____ | _____ | _____ | ||
20 | Turn Around, Bustle and Blaze | viola, horn, cello, piano | Blaizing Calfe Butslers | Listen Score | 10/20/07, Burlington VT |
21 | _____ | _____ | _____ | ||
22 | _____ | _____ | _____ | ||
24 | _____ | _____ | _____ | ||
S25 | An Offering Borne Again | piano | Nate Freeman | Listen (Demo) Score | |
26 | _____ | _____ | _____ | ||
27 | _____ | _____ | _____ | ||
28 | _____ | _____ | _____ |
Ash Wednesday, March 1983March | |||||
Date | Composition Title | Form/Instrumentation | Commissioner | Status | Premiere Date & Location |
1 | Diese Welt ist so Schön | voice, clarinet, vibes | Dov Schiller | Listen (Demo) Score | |
2 | _____ | _____ | _____ | ||
3 | Tuba Marcato | fanfare | Green Mountain Youth Symphony | Listen (Demo) Score | |
S4 | _____ | _____ | _____ | ||
5 | _____ | _____ | _____ | ||
6 | Three Tiny Prevarications | ukelele | Larry Polansky | Listen (Demo) Score | |
7 | _____ | _____ | _____ | ||
8 | _____ | _____ | _____ | ||
9 | _____ | _____ | _____ | ||
10 | _____ | _____ | _____ | ||
S11 | New Granite | fl., b.cl, vn., vcl., pno | Vermont Contemporary Music Ensemble | Listen Score | 11/9/07, Montpelier VT |
12 | _____ | _____ | _____ | ||
13 | _____ | _____ | _____ | ||
14 | _____ | _____ | _____ | ||
15 | _____ | _____ | _____ | ||
16 | _____ | _____ | _____ | ||
17 | _____ | _____ | _____ | ||
S18 | _____ | _____ | _____ | ||
19 | _____ | _____ | _____ | ||
20 | _____ | _____ | _____ | ||
21 | Lunar Cascade in Serial Time: March | tenor guitar | Seth Gordon | Cover Score | |
22 | Full House Reset | piano trio | Trio Tulsa | Listen Score | 10/14/07, Randolph VT |
23 | _____ | _____ | _____ | ||
24 | _____ | _____ | _____ | ||
S25 | Hermit of the Furies | cello solo | Bob Blais | Listen (Demo) Score | |
26 | _____ | _____ | _____ | ||
27 | Fortune in Her Eyes | piano four hands | Emily Doolittle | Listen (Demo) Score | |
28 | _____ | _____ | _____ | ||
29 | _____ | _____ | _____ | ||
30 | For the Beauty of the Earth | violin solo | Wen Li | Listen Score | 9/16/07, Waterbury VT |
31 | _____ | _____ | _____ |
Shahmat, April 2004April | |||||
Date | Composition Title | Form/Instrumentation | Commissioner | Status | Premiere Date & Location |
S1 | _____ | _____ | _____ | ||
2 | _____ | _____ | _____ | For the days of | |
3 | _____ | _____ | _____ | April 8 through | |
4 | _____ | _____ | _____ | May 8, compositions | |
5 | _____ | _____ | _____ | have been moved | |
6 | _____ | _____ | _____ | due to a residency | |
7 | _____ | _____ | _____ | at Binaural Media | |
S8 | _____ | _____ | _____ | in Nodar, Portugal, | |
9 | _____ | _____ | _____ | for the launch of | |
10 | _____ | _____ | _____ | the Birth Song Project | |
11 | _____ | _____ | _____ | with Stevie Balch. | |
12 | _____ | _____ | _____ | She and I will be | |
13 | _____ | _____ | _____ | working on the | |
14 | _____ | _____ | _____ | project in Nodar | |
15 | _____ | _____ | _____ | and later in Utrecht. | |
16 | _____ | _____ | _____ | ||
17 | Lunar Cascade in Serial Time: April | tenor guitar | Seth Gordon | Listen (Demo) Cover Score | |
18 | _____ | _____ | _____ | ||
19 | _____ | _____ | _____ | ||
20 | _____ | _____ | _____ | ||
21 | _____ | _____ | _____ | ||
S22 | _____ | _____ | _____ | ||
23 | _____ | _____ | _____ | ||
24 | _____ | _____ | _____ | ||
25 | _____ | _____ | _____ | ||
26 | _____ | _____ | _____ | ||
27 | _____ | _____ | _____ | ||
28 | _____ | _____ | _____ | ||
S29 | _____ | _____ | _____ | ||
30 | _____ | _____ | _____ |
Thièle, May 1991May | |||||
Date | Composition Title | Form/Instrumentation | Commissioner | Status | Premiere Date & Location |
1 | _____ | _____ | _____ | ||
2 | _____ | _____ | _____ | ||
3 | _____ | _____ | _____ | ||
4 | _____ | _____ | _____ | ||
5 | _____ | _____ | _____ | ||
S6 | _____ | _____ | _____ | ||
7 | _____ | _____ | _____ | ||
8 | _____ | _____ | _____ | ||
9 | _____ | _____ | _____ | ||
10 | Future Remembrance | electronic piece | Robert Voisey Munich Project | Listen | 6/15/07, Munich |
11 | _____ | _____ | _____ | ||
12 | _____ | _____ | _____ | ||
S13 | _____ | _____ | _____ | ||
14 | A Village on the Wind | electronic piece | Dartmouth College | Listen | 5/15/07, Hanover NH |
15 | _____ | _____ | _____ | ||
16 | Lunar Cascade in Serial Time: May | tenor guitar | Seth Gordon | Listen (Demo) Cover Score | |
17 | _____ | _____ | _____ | ||
18 | The Itch is Internal | cello duo | Robert Bolyard | Listen (Demo) Score | |
19 | _____ | _____ | _____ | ||
S20 | Détente | organ prelude on "Amity" | Carson Cooman | Listen (Demo) Score | 7/16/07, Ottawa |
21 | _____ | _____ | _____ | ||
22 | We're Running Out of Time | tenor pan and cello | Ed Epstein | Listen (Demo) Score | |
23 | _____ | _____ | _____ | ||
24 | An Fold-In Round | crab round for 14 parts | Larry Polansky | Listen (Demos) Full Folds: 1 2 3 Full Round Demo (47 minutes) Score: Full Folds: 1 2 3 | |
25 | _____ | _____ | _____ | ||
26 | À Bout de Souffle | three oboes | Pam DeSimone | Listen (Demo) Score | |
S27 | _____ | _____ | _____ | ||
28 | _____ | _____ | _____ | ||
29 | Romance: Mondo-Mando | mandocello & piano | Larry Polansky | Listen (Demo) Score | |
30 | _____ | _____ | _____ | ||
31 | Vermont Chess Camp | camp theme | Vermont Chess Camp | Listen (Demo) Score |
RatGeyser, June 2000June | |||||
Date | Composition Title | Form/Instrumentation | Commissioner | Status | Premiere Date & Location |
1 | _____ | _____ | _____ | ||
2 | The Anvil of Clytemnestra | song voice/piano/anvil | Barbara Touburg | Listen (Demo) Score | |
3 | _____ | _____ | _____ | ||
4 | Sequenza Nova | horn with piano overtones | Lydia Busler-Blais | Listen (Demo) Score | |
5 | _____ | _____ | _____ | ||
6 | _____ | _____ | _____ | ||
7 | Nine Lessons from "Flatland" | round book | Larry Polansky | Melodies (Demo) Score Small Score Full Listen (Demo) Expanded Score | |
8 | _____ | _____ | _____ | ||
9 | _____ | _____ | _____ | ||
S10 | _____ | _____ | _____ | ||
11 | _____ | _____ | _____ | ||
12 | Six Senses of Twilight | organ/electronics | Carson Cooman | Listen (Demo) Score Screen shots: 1 2 | |
13 | _____ | _____ | _____ | ||
14 | _____ | _____ | _____ | ||
15 | Lunar Cascade in Serial Time: June | tenor guitar | Seth Gordon | Cover Score Score (TIFF) Rose | |
16 | _____ | _____ | _____ | ||
S17 | _____ | _____ | _____ | ||
18 | _____ | _____ | _____ | ||
19 | _____ | _____ | _____ | ||
20 | _____ | _____ | _____ | ||
21 | _____ | _____ | _____ | ||
22 | _____ | _____ | _____ | ||
23 | _____ | _____ | _____ | ||
S24 | At the Edge of Forever | clarinet & string quartet | David Goodman | Listen (Demo) Score | |
25 | _____ | _____ | _____ | ||
26 | _____ | _____ | _____ | ||
27 | _____ | _____ | _____ | ||
28 | _____ | _____ | _____ | ||
29 | _____ | _____ | _____ | ||
30 | _____ | _____ | _____ |
Icecut, July 2004July | |||||
Date | Composition Title | Form/Instrumentation | Commissioner | Status | Premiere Date & Location |
S1 | Fanfare:Heat | orchestra | Vermont Youth Orchestra | Listen (Demo) Score | |
2 | _____ | _____ | _____ | ||
3 | _____ | _____ | _____ | ||
4 | _____ | _____ | _____ | ||
5 | _____ | _____ | _____ | ||
6 | Anticipation & Stormtide | accordion | Nicholas Maggio | Listen (Demo) Score | |
7 | _____ | _____ | _____ | ||
S8 | _____ | _____ | _____ | ||
9 | _____ | _____ | _____ | ||
10 | _____ | _____ | _____ | ||
11 | _____ | _____ | _____ | ||
12 | _____ | _____ | _____ | ||
13 | _____ | _____ | _____ | ||
14(*9/3) | Lunar Cascade in Serial Time: July | tenor guitar | Seth Gordon | Cover Score Listen (Demo) | |
S15 | _____ | _____ | Because of the dearth of | ||
16 | _____ | _____ | WAAM commissions during | ||
17 | _____ | _____ | the second half of 2007, I have | ||
18 | _____ | _____ | decided to put them into August | ||
19 | _____ | _____ | when they will be linked by time | ||
20 | _____ | _____ | and income. The remainder of | ||
21 | _____ | _____ | July will be involved with music | ||
22 | _____ | _____ | engraving and consulting on a | ||
23 | _____ | _____ | new Linux digital audio project. | ||
24 | _____ | _____ | I am still accepting commissions | ||
25 | _____ | _____ | for the WAAM project, and hope | ||
26 | _____ | _____ | to receive sixteen more before | ||
27 | _____ | _____ | the end of the year. That will | ||
28 | _____ | _____ | make 100, and the project | ||
S29 | _____ | _____ | will have taken which I believe | ||
30 | _____ | _____ | to be an effective and exciting | ||
31 | _____ | _____ | course. |
Cy-Gît, August 1976August | |||||
Date | Composition Title | Form/Instrumentation | Commissioner | Status | Premiere Date & Location |
1 | _____ | _____ | _____ | ||
2 | _____ | _____ | _____ | ||
3 | _____ | _____ | _____ | ||
4 | The Nine Rabbits of Valladolid | cello duo | Nati Plasencia and Amarilis | Listen (Demo) Score | |
S5 | _____ | _____ | _____ | ||
6(*8/7) | A Partial Summer | cello duo | Paul Perley | Listen (Demo) Score | |
7 | _____ | _____ | _____ | ||
8 | _____ | _____ | _____ | ||
9(*8/24-25) | Meta-Dream Once Meta-Dream Twice | violin solo | Thomas L. Read | Once: Listen (Demo) Score Twice: Listen (Demo) Score | |
10 | _____ | _____ | _____ | ||
11 | _____ | _____ | _____ | ||
S12(*9/24) | Lunar Cascade in Serial Time: August | tenor guitar | Seth Gordon | Cover Score Listen (Demo) | |
13 | _____ | _____ | _____ | ||
14 | _____ | _____ | _____ | ||
15(*9/2) | Evidently Skittles | children's flute-piano duet | Christopher Smith | Listen (Demo) Score | |
16 | _____ | _____ | _____ | ||
17(*9/25) | From the Mountains | organ prelude on "Honor to the Hills" | Carson Cooman | Listen (Demo) Score | |
18 | _____ | _____ | _____ | ||
S19 | _____ | _____ | _____ | ||
20(*8/27) | The Imagined Moons of Autumn | piano & flute | John Speede | Listen (Demo) Score | |
21 | _____ | _____ | _____ | ||
22 | _____ | _____ | _____ | ||
23(*9/1) | Morning in Nodar | string bass | Thomas Peters | Listen Score | 9/29/07, Pasadena |
24 | _____ | _____ | _____ | ||
25 | _____ | _____ | _____ | ||
S26(*9/8) | Low Clouds and Evening Wind | piano | Patricia Goodson | Listen (Demo) Score | |
27 | _____ | _____ | _____ | ||
28 | _____ | _____ | _____ | ||
29 | _____ | _____ | _____ | ||
30 | _____ | _____ | _____ | ||
31 | _____ | _____ | _____ | ||
*actual completion date |
In Bocca al Lupo, September 1986September | |||||
Date | Composition Title | Form/Instrumentation | Commissioner | Status | Premiere Date & Location |
1(*9/26) | Candied Sweet Potatoes | vocal trio | David Mahler | Listen (Demo) Score | |
S2 | _____ | _____ | _____ | ||
3 | _____ | _____ | _____ | ||
4 | _____ | _____ | _____ | ||
5(*10/6) | Tangents | two clavichords | Eric Somers | Listen (Demo) Score | |
6 | _____ | _____ | _____ | ||
7 | _____ | _____ | _____ | ||
8 | _____ | _____ | _____ | ||
S9 | _____ | _____ | _____ | ||
10 | _____ | _____ | _____ | ||
11(*10/9) | Lunar Cascade in Serial Time: September | tenor guitar | Seth Gordon | Cover Score | |
12 | _____ | _____ | _____ | ||
13 | _____ | _____ | _____ | ||
14(*10/2) | Loss of Innocence | organ prelude on Justin Morgan's "Amanda" | Carson Cooman | Listen (Demo) Score | |
15 | _____ | _____ | _____ | ||
S16 | _____ | _____ | _____ | ||
17 | _____ | _____ | _____ | ||
18 | _____ | _____ | _____ | ||
19(*10/4) | Toccata: The Tides of Wales | organ | Patricia Goodson | Listen (Demo) Score | |
20 | _____ | _____ | _____ | ||
21 | _____ | _____ | _____ | ||
22 | _____ | _____ | _____ | ||
S23(*10/8) | Lowing in Coventry | 3 low horns | Lydia Busler-Blais | Listen (Demo) Score | |
24 | _____ | _____ | _____ | ||
25 | _____ | _____ | _____ | ||
26 | _____ | _____ | _____ | ||
27 | _____ | _____ | _____ | ||
28 | _____ | _____ | _____ | ||
29 | _____ | _____ | _____ | ||
S30(*10/24) | Time's Arrow | clarinet solo | Bill Sallak | Listen (Demo) Score |
By Still Waters, October 2004October | |||||
Date | Composition Title | Form/Instrumentation | Commissioner | Status | Premiere Date & Location |
1 | _____ | _____ | _____ | ||
2 | _____ | _____ | _____ | ||
3 | _____ | _____ | _____ | ||
4(*11/30) | UpReach Over DownSlide | clarinet and string quartet | Richard Fredette | Listen (Demo) Score | |
5 | _____ | _____ | _____ | ||
6 | _____ | _____ | _____ | ||
S7 | _____ | _____ | _____ | ||
8 | _____ | _____ | _____ | ||
9 | _____ | _____ | _____ | ||
10 | _____ | _____ | _____ | ||
11(*10/29) | Lunar Cascade in Serial Time: October | tenor guitar | Seth Gordon | Cover Score Listen (Demo) | |
12 | _____ | _____ | _____ | ||
13 | _____ | _____ | _____ | ||
S14 | _____ | _____ | _____ | ||
15 | _____ | _____ | _____ | ||
16(*10/16) | In My Room | acoustic/electric guitar | Anonymous | Listen (Demo) Score | |
17 | _____ | _____ | _____ | ||
18 | _____ | _____ | _____ | ||
19 | _____ | _____ | _____ | ||
20 | _____ | _____ | _____ | ||
S21(*11/14) | Scalar Rainbows | piano | André Posman, De Rode Pomp | Listen (Demo) Score | |
22 | _____ | _____ | _____ | ||
23 | _____ | _____ | _____ | ||
24(*10/27) | In Search of the Seven Blue Stars | viola sonata (I) | Robert Bonotto | Listen (Demo) Score | |
25 | _____ | _____ | _____ | ||
26 | _____ | _____ | _____ | ||
27 | _____ | _____ | _____ | ||
S28(*11/18) | Aisle Five | percussion and voice | Bill Sallak | Score | |
29 | _____ | _____ | _____ | ||
30 | _____ | _____ | _____ | ||
31 | _____ | _____ | _____ |
Beepers (Overture), November 1986November | |||||
Date | Composition Title | Form/Instrumentation | Commissioner | Status | Premiere Date & Location |
1(*11/19) | She Who Saves | two natural horns and soprano | Michael H. Dixon | Listen (Demo) Score | |
2 | _____ | _____ | _____ | ||
3 | _____ | _____ | _____ | ||
S4(*10/31) | In Search of an Exit | energetic piano | Reena Esmail | Listen (Demo) Score | |
5 | _____ | _____ | _____ | Another unexpected | |
6 | _____ | _____ | _____ | bunch of other work | |
7 | _____ | _____ | _____ | has arrived, along with | |
8 | _____ | _____ | _____ | family and animal stuff. | |
9(*11/20) | Lunar Cascade in Serial Time: November | tenor guitar | Seth Gordon | Cover Score | |
10 | _____ | _____ | _____ | so a stack of pieces | |
S11 | _____ | _____ | _____ | have been moved back | |
12 | _____ | _____ | _____ | and they'll start appearing | |
13 | _____ | _____ | _____ | more frequently now. | |
14 | _____ | _____ | _____ | ||
15 | _____ | _____ | _____ | ||
16 | _____ | _____ | _____ | ||
17 | _____ | _____ | _____ | ||
S18 | _____ | _____ | _____ | ||
19(*11/24) | Cithara-Cantus Cantoris | jew's harp | Samuel Vriezen | Listen (Demo) Score | 12/16/07, Amsterdam |
20(*11/23) | Toccata & Tryptophan | tenor pan solo | Ed Epstein | Listen (Demo) Score | |
21 | _____ | _____ | _____ | ||
22(*12/31) | Horizon (Ocean) | wind quartet, string quartet & piano | Anonymous | Listen (Demo) Score | |
23 | _____ | _____ | _____ | ||
24(*11/28) | Events and Horizons | clarinet and string quartet | Fran Richard / ASCAP | Listen (Demo) Score | |
S25 | _____ | _____ | _____ | ||
26(*12/5) | Thirteen Triple X | piano etude | Carson Cooman | Listen (Demo) Score | |
27 | _____ | _____ | _____ | ||
28(*12/4) | O Vox Pop | bass clarinet/bassoon | Steve Klimowski | Listen (Demo) Score | |
29 | _____ | _____ | _____ | ||
30 | _____ | _____ | _____ |
Suite for Recorders, December 1970December | |||||
Date | Composition Title | Form/Instrumentation | Commissioner | Status | Premiere Date & Location |
1 | Walking the Flat | alto sax | Peter Hamlin | Listen (Demo) Score | |
S2 | _____ | _____ | _____ | ||
3 | _____ | _____ | _____ | ||
4(*12/10) | XLII: Adeste Hendecasyllabi | song, voice/piano | David Bremner | Listen (Demo) Score | |
5 | _____ | _____ | _____ | ||
6(*12/9) | Vexation Blues | piano piece | Dante Oei | Listen (Demo) Score | |
7 | _____ | _____ | _____ | ||
8 | Morning Steps (to Parnassus) | electronic miniature | Rob Voisey | Listen | |
S9(*12/11) | Lunar Cascade in Serial Time: December | tenor guitar | Seth Gordon | Cover Score Listen (Demo) | |
10 | _____ | _____ | _____ | ||
11 | _____ | _____ | _____ | ||
12(*12/13) | In Search of the Lightness of Horizon | viola sonata (II) | Elizabeth Reid | Listen (Demo) Score | |
13 | _____ | _____ | _____ | ||
14(*12/20) | Framing the Sum of Three | piano pieces | Michael Arnowitt | Listen (Demo) Score | 2/20/08, Ghent |
15 | _____ | _____ | _____ | ||
S16(*12/25) | Curious Crimson Glow | bass trombone piece | Christopher Smith | Score | |
17 | _____ | _____ | _____ | ||
18(*12/16) | Counting Myself | young cello duo with teacher | Lydia Busler-Blais | Listen (Demo) Score | |
19 | _____ | _____ | _____ | ||
20(*12/17) | It's Mine, I Tell You! | piano duo | David Mahler | Listen (Demo) Score | |
21 | _____ | _____ | _____ | ||
22 | _____ | _____ | _____ | ||
S23 | _____ | _____ | _____ | ||
24 | _____ | _____ | _____ | ||
25(*12/26) | Strong to Save | piano prelude on "Eternal Father, Strong to Save" | Eleanor Fisher | Listen (Demo) Score | |
26 | _____ | _____ | _____ | ||
27(*12/30) | To the Secretary of Good Fortune | cello and guitar | Jeremiah Reilly | Listen (Demo) Score | |
28 | _____ | _____ | _____ | ||
29(*12/27) | Incanta | solo line | Alex Shapiro | Listen (Demo) Score | |
S30(*12/29) | 99 Events for the Found, the Made and the Natural | performance events for found instruments | Zona Hostetler | Score | |
31 | Voices in My Night | electronic/voice | Noah Creshevsky | Listen |
Spectral rendering of Electronic Construction, composed in 1970. |
Sample Fee Grid: Fees Can Be Flexible | ||||||||||
---|---|---|---|---|---|---|---|---|---|---|
Number of Minutes / Number of Measures (very approximate, depends on tempo, etc.) | ||||||||||
Number of Parts | 30" / 10mm | 1' / 20mm | 1'30" / 30mm | 2' / 40mm | 2'30" / 50mm | 4' / 80mm | 5' / 100mm | 7'30" / 150mm | 10' / 200mm | |
solo unaccompanied | $50 | $50 | $50 | $50 | $50 | $80 | $100 | $150 | $200 | |
duet, piano, keyboard, harp | $50 | $50 | $60 | $80 | $100 | $160 | $200 | $300 | $400 | |
solo accompanied, song, trio, organ | $50 | $60 | $90 | $120 | $150 | $240 | $300 | $450 | $600 | |
quartet, piano trio, SATB chorus | $50 | $100 | $100 | $160 | $200 | $320 | $400 | $600 | $800 | |
quintet or piano quartet | $100 | $100 | $150 | $200 | $250 | $400 | $500 | $750 | $1000 | |
electronic (playback only) | $60 | $120 | $180 | $240 | $300 | $480 | $600 | $900 | $1200 | |
electronic and solo instrument | $110 | $170 | $230 | $290 | $350 | $560 | $700 | $1050 | $1400 | |
string orchestra (9 parts), chamber opera | $100 | $180 | $270 | $360 | $450 | $720 | $900 | $1350 | $1800 | |
medium ensemble (16 parts) | $160 | $320 | $480 | $640 | $800 | $1280 | $1600 | $2400 | $1800 | |
film/video score (unsynchronized) | $220 | $340 | $460 | $580 | $700 | $1120 | $1400 | $2100 | $2800 | |
large orchestra (30 parts), opera | $300 | $600 | $900 | $1200 | $1500 | $2400 | $3000 | $4500 | $6000 | |
Preliminary Terms (subject to revision) | ||||||||||
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The goal of 100 commissions has been met.
Updated December 31, 2007.
100