Sitar method. Sitar method.

For solo violin reed organ psaltery (piano) 2 drums 4 marimbas (harp).

(1993) Performed by bassoonists all over the world Dead Elvis for solo bassoon and small chamber ensemble has become one of the most frequently performed works for bassoon. In this highly original work Daughertyexplores the Sturm und Drang of the hip young genius rock-and-roll Elvis versus the vulgar fat stoned Las Vegas Elvis. For performance of Dead Elvis it has become a tradition for bassoonists to wear anElvis Las Vegas white jumpsuit (easily rented from a local costume store). Duration - ca. 9:00

Madrigals by the Renaissance composer Monteverdi provided the inspiration for my own Madrigali . Symbolic images of flames burning and fire recur often in Italian love poems from this era and my cycle on texts employingthis fire motive blends stylistic musical features of the period (word painting modality bold harmonic shifts intricate counterpoint augenmusik etc.) within a contemporary compositional idiom. The music emanates from asingle primal sonority (the Fire-Chord) which opens the piece and is found extensively throughout all six movements in myriad forms and manipulations providing motivic unity to complement the poetic. This cycle ofmadrigals has been designated an American Choral Masterpiece by the National Endowment for the Arts. --Morten Lauridsen

For alto voice and string quartet or string orchestra.

For flute oboe clarinet viola cello and harp.

Each of the five connected movements in this choral cycle contains references to 'Light ' assembled from various sacred Latin texts. I composed Lux Aeterna in response to my mother's final illness and found great personalcomfort and solace in setting to music these timeless and wondrous words about Light a universal symbol of illumination at all levels - spiritual artistic and intellectual. The work opens and closes with the beginning andending of the Requiem Mass with the central three movements drawn respectively from the Te Deum O Nata Lux and Veni Sancte Spiritus . The opening Introitus introduces several themes that recur later in thework and includes an extended canon on et lux perpetua. In Te Domine Speravi contains among other musical elements the cantus firmus Herzliebster Jesu (from the Nuremburg Songbook 1677) and a lengthy inverted canon on fiat misericordia. O Nata Lux and Veni Sancte Spiritus are paired songs the former an a cappella motet at the center of the work and the latter a spirited jubilant canticle. A quiet setting of the Agnus Dei precedes the final Lux Aeterna which reprises the opening section of the Introitus and concludes with a joyful celebratory Alleluia . --MortenLauridsen

For 3 percussionists.1: mar chi ant cym timp chin.small cym conga tamt log dr 2: vib chi ant cym timp chin.small cym bongo wind gong log drum Chinese gong set 3: vib chi ant cym timp chin.small cym tomt log dr chin.gong set

Written for the composer's daughter for use in her piano lessons. In seven movements. Intermediate Level. Written for the composer's daughter for use in her piano lessons. In seven movements. Intermediate Level.

For bassoon and 2 or 4 percussionists.

This the central movement from Lux Aeterna is a serene a cappella motet celebrating the Redeemer. --Morten Lauridsen

In five movements: Meditaci«n Memorias de Tango Polka Pizzicato Canci«n de Amor and Moto Perpetuo. In five movements: Meditaci«n Memorias de Tango Polka Pizzicato Canci«n de Amor and Moto Perpetuo.

Three songs on poems by Harold Witt (1923-1995) about his children and their activities - learning ballet celebrating a birthday and exploring their backyard universe.

Bassoon and Piano- Sunset Song op.42 for bassoon and piano was written and premiered in 1994 at the Los Angeles Museum of Art Bing Theatre. It is the composer´s second large work featuring the bassoon as soloist (after Hexen ) and like Hexen it isalso dedicated to bassoonist Judith Farmer who premiered it with the composer at the piano. Sunset Song is technically a tour de force for both the bassoon and the piano. It is happy sensuous obsessive and at times mocking - often reflecting the time in which it was written and the events of a Mexico tour that followed the firstperformance during which the piece underwent revisions. The piece starts with an introduction played by the bassoon almost entirely. This introduction uses elements of 1950s pop music. A middle section follows where a static -almost MiddleEastern- ostinato rhythmic pattern beats with increasing tension. This pattern is then transformed to a Latin beat which finally returns the piece to the opening mood. The bassoon ends the piece in an irreverent tone with a pitch written two octavesabove the official limit of the instrument’s register. The title Sunset Song was inspired by California’s sunsets and the sun setting on the Pacific Ocean. Sunset Song op.42 for bassoon and piano was written and premiered in 1994 at the Los Angeles Museum of Art Bing Theatre. It is the composer´s second large work featuring the bassoon as soloist (after Hexen ) and like Hexen it isalso dedicated to bassoonist Judith Farmer who premiered it with the composer at the piano. Sunset Song is technically a tour de force for both the bassoon and the piano. It is happy sensuous obsessive and at times mocking - often reflecting the time in which it was written and the events of a Mexico tour that followed the firstperformance during which the piece underwent revisions. The piece starts with anintroduction played by the bassoon almost entirely. This introduction uses elements of 1950s pop music. A middle section follows where a static -almost MiddleEastern- ostinato rhythmic pattern beats with increasing tension. This pattern is then transformed to a Latin beat which finally returns the piece to the opening mood. The bassoon ends the piece in an irreverent tone with a pitch written two octavesabove the official limit of the instrument’s register. The title Sunset Song was inspired by California’s sunsets and the sun setting on the Pacific Ocean.

Three songs: The Stolen Child (W.B. Yeats) After the Revels (Ibn Shuhayad) We Are Seven (William Wordsworth). c. 15 minutes. Three songs: The Stolen Child (W.B. Yeats) After the Revels (Ibn Shuhayad) We Are Seven (William Wordsworth). c. 15 minutes.

Three songs on poems by Wayne Koestenbaum including Ballad of the Layette Posh and Blue Sea Songs. Fairouz adds dashes of wit playfulness and quicksilver shifts in harmony and color to these Bari-Tenor songs (performable by high Baritone and low Tenor voices). Three songs on poems by Wayne Koestenbaum including Ballad of the Layette Posh and Blue Sea Songs. Fairouz adds dashes of wit playfulness and quicksilver shifts in harmony and color to these Bari-Tenor songs (performable by high Baritone and low Tenor voices).

Piano Reduction is item 229102 Piano Reduction is item 229102

Performance materials on rental.

Piano Reduction is item 227221 Piano Reduction is item 227221

Performance materials on rental.