Published 1988. Commissioned by NHK (Japan Broadcasting Corp). First performance: Tokyo 1988 Seiji Kubota. Published 1988. Commissioned by NHK (Japan Broadcasting Corp). First performance: Tokyo 1988 Seiji Kubota.

For mixed choir Flute and Tom Tom Published 2003. Tom tom may be played by one of the choir members. First performance: Yotsuya-kumin Hall Tokyo 10th August 2003 Nobuaki Tanaka (Cond) Yukihiko Nishizawa (Fl) 'Tsukuru-kai' Choir. For mixed choir Flute and Tom Tom Published 2003. Tom tom may be played by one of the choir members. First performance: Yotsuya-kumin Hall Tokyo 10th August 2003 Nobuaki Tanaka (Cond) Yukihiko Nishizawa (Fl) 'Tsukuru-kai' Choir.

Comissioned by Ian Mitchell and ABRSM for Spectrum for Clarinet. Comissioned by Ian Mitchell and ABRSM for 'Spectrum for Clarinet'.

For Bass voice and Piano. Published in 1970. First performed by Ian Caddy Jennifer Coultas BBC 8th September 1979. Score. For Bass voice and Piano. Published in 1970. First performed by Ian Caddy Jennifer Coultas BBC 8th September 1979. Score.

Published 1973. Commissioned by Tokyo Percussion Ensemble. First performance: Tokyo 1973 Tokyo Percussion Ensemble. Published 1973. Commissioned by Tokyo Percussion Ensemble. First performance: Tokyo 1973 Tokyo Percussion Ensemble.

Set of three performing scores for Jeremy Dale Roberts ' Croquis for String Trio. Published 1976-1990 this piece was first performed at the Venice Biennale and was first broadcast by members of Arditti Quartet - irvine Arditti Levine Andrade Rohan de Saram. Croquis is in three parts: Cahier 1 - 17 minutes Cahier 2 - 16 minutes Cahier 3 - 18 minutes Set of three performing scores for Jeremy Dale Roberts ' Croquis for String Trio. Published 1976-1990 this piece was first performed at the Venice Biennale and was first broadcast by members ofArditti Quartet - irvine Arditti Levine Andrade Rohan de Saram. Croquis is in three parts: Cahier 1 - 17 minutes Cahier 2 - 16 minutes Cahier 3 - 18 minutes

For Soprano and Piano. Score. For Soprano and Piano. Score.

Triskelion-Jo Kondo 's Variations (Triskelion) composed October 2015. Duration: c. 9 minutes. For Flute (doubling Alto Flute) Clarinet Piano Vibraphone Marimba (doubling Timpani) Violin Viola and Cello. Written for Ossia Ensemble of Eastman School of Music Rochester University. Jo Kondo 's Variations (Triskelion) composed October 2015. Duration: c. 9 minutes. For Flute (doubling Alto Flute) Clarinet Piano Vibraphone Marimba (doubling Timpani) Violin Viola and Cello. Written for Ossia Ensemble of Eastman School of Music Rochester University.

Full Score for Mezzo-Soprano Narrator Dancer Solo Flute Female Chorus Orchestra Full Score for Mezzo-Soprano Narrator Dancer Solo Flute Female Chorus Orchestra

For Clarinet. Published 2005. Written for Ian Mitchell. First performance: Ian Mitchell Aberdeen February 2006. Score. For Clarinet. Published 2005. Written for Ian Mitchell. First performance: Ian Mitchell Aberdeen February 2006. Score.

for choir and fixed media-Isthmus denotes a narrow strip of land with sea on either side forming a link between two larger ars of land. The title is a metaphor for an effort to bond artistically my experiences of living in Cyprus my birthplace and in the USA my recently adopted homeland. Having lived in a small partitioned island for my formative years and in England for eleven years water has always had a double meaning: it has at once served as a gateway to other cultures but also as a border a violent and absolute interruption of a continuum. While in the USA or indeed in a now connected Europe it is possible to travel on land for days without having to encounter a border in the countries where I lived for most of my life that was not possible. As an artist this notion of establishing boundaries and consciously trying to break them is very close to me as my music deals both with modernity but also with tradition and similarly with metaphor and reality. As a Cypriot the sea the world of antiquity the mysteries of the oracles the notion of borders and the pastoral are all very central to my way of thinking. In Cyprus different layers of history are frequently superimposed on a single building that might still preserve its Roman Byzantine Venetian and Ottoman features in its layers of stone and architecture. Similarly ancient ruins or the barbed wire of modern conflict often interrupt placid fields. An isthmus therefore can be seen to symbolize my artistic struggle to join strikingly different experiences and notions in a cohesive way. Similar to an isthmus in this short piece I connect these experiences with the purpose of creating a distinct and unique sonic context connecting technology and tradition the pastoral with the urban the musical with the extra-musical and the abstract with the concrete. For example the choir does not always sing in the traditional sense but the singers imitate various natural sounds such as water air crickets or birds to create a vivid visual impression for the work. Scandinavian herding calls blend with field recordings from the seas of Cyprus and the lakes of Upstate New York communicated within clearly defined singular acoustic sources and spaces through wireless speakers. The text used is both onomatopoeic articulating an imaginary language but also literal with a setting of the poem “To make a prairie” by the iconic American poet Emily Dickinson and a tiny fragment from Callimachus’ “Hymn to Demeter.” Technology is used sparsely and very intentionally to articulate the expressive qualities of pastoral imagery creating one unified synthetic timbre with the choristers’ sounds. This piece is dedicated to the wonderful singers of the Georgia Institute of Technology Chamber Choir with special thanks to Professors Hsu and Ulrich without whose support this composition would not have been possible. Practical notes: A choir of no less than 24 singers i

Piano Reduction

Pas Seul

Cello Concerto

Medea's Cell

sláva hv?zd - the glory of stars

Three Songs and A Memory from the Bride's Journey

Three Winter Months

Nicosia Études I-III

Impresa Amorosa