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Premiere Title of Commission Composer Listen
05/14/2013 Distance Fuhong Shi Listen Close

Distance is scored for mixed ensemble including four Chinese traditional instruments and Western instruments.

05/14/2013 Small and Curious Places Dorothy Chang Listen Close

Small and Curious Places, puts aside the question of East vs. West and instead approaches the ensemble as a group of individual instruments and their unique characteristics, with none more distinct or exotic than the others.

10/11/2012 The Mountain Spirit Fuhong Shi Listen Close

The text of this work comes from poetry anthology Nine Songs written by a great Chinese poet Qu Yuan. Nine Songs consists of 11 poems and presents various parts that reflect rituals of ancient China.

10/20/2010 Dring, Dring Ana Sokolovic Listen Close

Sokolović describes 'Dring, Dring' as a “little musical theatre piece inspired by the telephone and the actions we take around that common object.” Divided into four sections (“dialling,” “answering,” “lullaby,” and “bye-bye”), the piece explores both the sounds emitted by the telephone and our human interactions with it.

04/27/2010 Look on Glass Michael Oesterle Listen Close

Though the marimba and the Japanese koto come from divergent musical cultures, their timbres complement each other: both have a particular contemplative quality. Oesterle exploits the sonic texture of this unusual combination of instruments extensively throughout this piece, drifting from extremes of density and volume within a restrained melodic contour.

02/12/2006 The Weaving Maiden Chan Ka Nin Listen Close

The story of the Cowherd and the Weaving Maiden, a tale of two forbidden lovers who are allowed to meet only once a year on the seventh day of the seventh month over the wings of magpies, is well known in Chinese folklore. Since the Weaving Maiden is from heaven and the Cowherd is of the world below, the music embodies the division between the celestial and the earthly.

03/05/2005 The Passion of Lavinia Andronicus Omar Daniel Listen Close

Daniel’s oratorio is an exploration of that unknown Lavinia from William Shakespeare’s blood-soaked revenge tragedy Titus Andronicus. The solo vocal groups, consisting of soprano and four male singers (countertenor, two tenors, and baritone), collectively speak with Lavinia’s internal “voice” while the chorus provides external commentary and acts as the voices of those around her.

04/22/2004 Freddy's Dead James Rolfe Listen Close

Rolfe emploie certaines des méthodes que Bach a lui-même utilisées pour l’Offrande musicale, notamment le renversement, le rétrograde et le renversement du rétrograde. La majeure partie de Freddy’s Dead est dérivée du troisième mouvement de la sonate en trio de l’Offrande musicale, dont Rolfe a accéléré le matériau pour ensuite le contraindre en l’ajustant aux temps forts (clé de fa) et aux temps faibles (clé de sol).

04/22/2004 Vorwissen Paul Steenhuisen Listen Close

Steenhuisen grapples in his piece with what he calls the “retrograde/palindrome problem”—the fact that, while music moves forward through time, the concept of a retrograde melody or musical palindrome requires the listener to experience the music moving both forwards and in reverse.

05/08/2001 Nonet Ana Sokolovic Listen Close

The characteristic playfulness of Sokolović’s music is prominently represented in this short piece, which the composer has dedicated to her son Gustave. Her aim in Nonet was to create a progression from static, non-evolving material to material that is faster and more directional, and then to repeat this process several times to achieve a humorous effect.

06/13/1997 Borealis Harry Freedman Listen Close

Borealis makes use of such antiphonal and spatial effects. It also, as its title suggests (Borealis being Latin for “of the north”), draws inspiration from another awe-inspiring space: the frozen vastness of the Arctic. The text used in the piece is an abstraction of Inuit and other aboriginal languages.

04/04/1995 Heirmos Christos Hatzis Listen Close

In composing Heirmos, Hatzis sought to evoke his experience of visiting Greek orthodox monasteries and hearing the monks and nuns sing their Sunday services. Certain aspects of this experience, such as the cantors’ philosophical approach to time and the way the ambient space affected the timbre of their voices, made him aware of unexplored potential in his own work and prompted him to consider alternative ways of thinking about musical continuity.

05/25/1994 11 Miniatures for Oboe Harry Somers Listen Close

In composing these eleven short pieces, Somers has declared that he deliberately set out to put the performer’s technique to the test by exploring the entire gamut of the oboe’s range.

04/26/1992 Prime Time John Weinzweig Listen Close

Intended to be seen as much as heard, Prime Time is a music-theatre work, with words assembled by the composer. Those words consist of a series of disparate messages from the news media presented in juxtaposition without heed to chronology. Moments of quiet rumination, ranging from the contemplation of hidden meanings to furtive thoughts, are interrupted by concert events.